To be clear, O’Hara’s aims were very different from Nike’s (or Wieden+Kennedy’s). O’Hara had little desire to reform the strategies of Madison Avenue or the fortunes of capitalism. Rather, he was eager to show how, through the poem, the commodity could be emptied of its content and made into a vessel for human interconnection, erotic or otherwise. As José Muñoz asserts in his exemplary reading of the poem, treated as a signal instance of queer futurity, for O’Hara “the quotidian act of having a coke with somebody . . . signifies a vast lifeworld of queer relationality, an encrypted sociality, a utopian potentiality.”18 But this dereifying maneuver, dissolving commodities back into the human relationships whose place they have taken, is itself rather easily reified and, in the course of the last several decades, has become a highly effective technique for corporations, using human desire for meaningful engagement as a way to sell commodities, not as commodities per se but as relationships, as experience. The transformation of objects into experience has also helped firms avoid the problems caused by mass production of standardized goods, whose actual differences from the commodities of competitors are often negligible and whose generalization, standardization, and mass availability can run the risk of making the good in question seem prosaic, dull, and uninteresting. The jargon of experience allows the same commodity to be addressed to each person uniquely.