Anonymity as a strategy for survival in an egocentric culture is certainly not a trademark of Philippe Perrin. His work Brand New Cadillac, 1992, is a composite of many objects: little boxes displaying familiar attributes and fetishes of our consumer society are grouped around a black and white photograph of an attractive woman in the act of undressing. As in an earlier work, entitled Killer, 1990, which was shown in the “Aperto” section of the Venice Biennale, the scene here is suggested as in a movie. Perrin has even broken the glass pane of one of the boxes, which, it is implied, surely also