Every souvenir shop in Brussels sells hundreds, perhaps even thousands, of crudely manufactured Asian souvenirs of the city’s famous Mannekin Pis fountain. In this shop window, dozens of them, looking almost nothing like the original, are lined up in precise ranks. The sight of so many multi-colored miniature statues of urinating children lined up in rows was bizarre enough in itself. But these were not only miniature replicas – they apparently also function as bottle openers. The apparatus sprouting from their heads makes them even more incongruous. My tight vantage point intensifies the rhythmic repetition of both the ludicrous figures and the bottle openers, creating a sense of incongruity that implies regimentation and relentless commercialism. They are intended, of course, as amusement, but when seen en masse, the incongruous effect is surreal and profoundly unsettling, a comment on the nature of worldwide tourism and the commercialism that feeds on it.