Rubén Ortiz Torres looks for staples of national identity in foreign settings: a puny Statue of Liberty in a Guatemalan public school becomes a caricature of “liberty and the pursuit of happiness” (Guatemalan Liberty/Liberatad Chapina, 1995); two young Latinos at a Halloween party on Hollywood Boulevard pose as the “miscast” brown versions of horror-movie villains (Dios de la Guerra/Wargod, 1991); while two suburban blond kids wave at us from their taco-shaped cart in a parade (California Taco, 1995). Ortiz’s photographic series “The House of Mirrors,” 1990– , presents a cultural carnival of