Bomann refrigerator – is made up of the objects given to the artist’s grandmother by an immigrant relief programme when she arrived in Germany, you have to read the wall label. Vo replaced the appliances for his maternal grandmother before incorporating them into his work; the new fridge surely works just as well, but the old one, with a crucifix received from her local church attached to it, is an image of larger societal shifts: migration, welcome, the unfamiliar and the new, fear and hope.

How to look at Vo’s work? A simple answer: read. Read the wall labels and trace the stories he recounts about Vietnam, migration, and the movement of objects away from their intended use and into a personal system of references: Ferse (2013) sees giftbags printed with the image of the Statue of Liberty opened out to form a large surface on to which the artist’s father, Phung Vo, wrote a section of the original Cinderella in English in stylised red calligraphy. These are mainly stories about art and display: the emblematic works in this exhibition, for example, are three chandeliers taken from the Hôtel Majestic in Paris, where the Paris Peace Accords, which formally ended the Vietnam War, were signed. One chandelier hangs early in the walk through the rotunda; another is still encased in the travel case built for it at the Centre Pompidou (making the trip from Paris, again); and the last one is disassembled and laid out on the floor. All three are titled with a date and