Does Gordon v. Drape really mean what it says about explicit misleadingness?

Testing Gordon v. Drape with the paintings of Tom Sachs, some of which
reproduce famous product labels in their entirety (or nearly so). The
introduction to the coffee table book I just bought says,

Reese’s Peanut Butter Cups and Snickers bars to images of American flags and
Air Force One, Sachs takes familiar brands, symbols, and commodities as his
subjects. He represents these iconic images in his deliberately imperfect and
conspicuously handmade aesthetic, wanting us to see the uneven brushstrokes and
roughly hewn surfaces that distinguish his “handmade paintings.” By drawing
attention to how his objects are made, he deconstructs the formidable and
complex systems that powerful logos and brands represent. In Tom’s words, “When
I look at these paintings, to me they all speak about power. There is power in
logos and there is power in good advertising.”

On Artsy, the description says:

the speed and regularity with which a materialistic society replaces
commodities, Sachs uses both a profusion of commercial icons in his work and
builds his own functioning versions of consumer goods using re-purposed items,
such as the glossy, black Prada Toilet (1997), a workable toilet constructed
out of Prada’s up-market packaging, with the company’s logo prominently
displayed on the sculpture. Sachs’s works are emphatically process-oriented, an
expression of the artist’s DIY spirit, divulging even the flaws of his complex
and labor-intensive projects.

So, are his works explicitly misleading? See below for some examples:


Note the detail on this painting:

If you think the “Tom Sachs” signature on the side helps, what about this one?

from Blogger

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