Queering familiar logistics—from transport industries to public toilets or pawnshop business—is core to Villiam Miklos Andersen’s sculptural and relational artistic work. For O—Overgaden, Andersen mounts the grand new project Caffè Crema. Trailing his own experience as a truck driver by borrowing the exhibition title from the cheap coffee one can choose at almost any freeway stop through central Europe, the project employs a multitude of objects—including an actual, ready-made coffee machine, hand-carved oak urinals, a stack of real-life carrots, flower decorations, a room-sized freezer, and slot machines made from cedarwood—to create a colorful grand-scale installation alluding to wholesale markets or free trade zones. Meanwhile Andersen’s sculptural jest of tweaking the different objects upends how consumer goods, or even zones of trade, reek of both male-dominated freight trains and uniformity of powerful infrastructures. Altering typical normative visual standards of commodities, Andersen thus exposes a systemic logistical regulation of mundane actions, purchases, and movement patterns often hidden in plain sight.