Queering familiar logistics—from transport industries to public toilets and pawnshop businesses—is central to Villiam Miklos Andersen’s sculptural and relational artistic practice. Through sculptural gestures that subtly tweak familiar objects, Andersen upends how consumer goods—and even zones of trade—are saturated with the masculinized aesthetics of freight transport and the uniformity of dominant infrastructures. By altering the normative visual codes of commodities, Andersen reveals the systemic logistical regulation of everyday actions, purchases, and movement patterns—structures often hidden in plain sight.