To get to Tony Cokes’ “All About Evil” at Hannah Hoffman, a show displaying 12 selected works from a period of nearly two decades (2006-2022), one must pass a sidewalk sign for the neighboring jewelry boutique Spinelli Kilcollin. Cokes’ HD videos feature large white Sans Serif text against bright, embarrassingly and overwhelmingly American colors: red, white, and blue. Performing a patriotic zeal gone awry, the works pull the viewer in multiple directions at once: Device 1, a window flat screen, faces into the private, gated, courtyard, (where one must be buzzed in to view the work); Device 2, a wall-mounted flat screen, features two headsets for a pair of viewers to place over their ears, while a different song plays aloud from Device 3, an LED screen placed to the right of the small gallery space. The conditions surrounding this viewing experience are at odds with the overtly political content of Cokes’ work, which uses, for instance, the Sesame Street theme song alongside text on the response to coronavirus and the larger failures of the American political and educational systems. Stark text both confronts and entertains the viewer, who is offered a chance to sit on one of three large foam square blocks in the center of the gallery. Cokes’ provocative work reproduces a space not unlike an electronics superstore. The show offers neither space for immersion in a single work nor a path to political resistance. Instead, its success lies in the suggestion that rebellion itself has become a commodity, presented on multiple flashing screens with two soundtracks playing at once. The viewer is divided from themself, much like the user of an iPhone or Instagram.