Marc Bijl is a busy man. The Dutch artist, currently a resident at the Künstlerhaus Bethanien in Berlin, has been storming the city for the last two years with a series of public interventions that confuse cultural symbols and national political identities, both local and foreign. Bijl’s actions—mostly clandestine and always illegal—lie somewhere between performance and disturbance, installation and litter.

Take Symbolic, 2002: Bijl made cement casts of the German iron cross and the Nike logo and abandoned them at different points in the city. Lying alone on the pavement, the casts look like