In his latest bestseller, London Falling, Patrick Radden Keefe sheds light on the pivotal role of the Young British Artists (YBAs) in the 1990s. This group, born out of a derelict warehouse in southeast London, became the face of a reinvigorated British art scene, transforming London from a derelict industrial zone into a hub of artistic innovation.

The legacy of the YBAs, however, has been a rollercoaster. From the shock of Damien Hirst’s preserved shark to the nuanced explorations of Tracey Emin and Sarah Lucas, their work has evolved, mirroring Britain’s changing national image. Exhibitions in recent years have sought to reinterpret and recontextualize their contributions, challenging our perceptions of what art can be and do.

Their rise to fame was as much about brand as it was about art. Charles Saatchi, whose advertising firm had previously revolutionized Margaret Thatcher’s image, capitalized on the YBAs, creating a frenzy around their works that transcended mere artistic merit. This branding not only boosted the artists’ careers but also set the stage for a new era of art-world celebrity.

The paradox of the YBAs was that they were both disrupters and beneficiaries of the very establishment they sought to challenge. By 1998, as the Observer’s Andrew Anthony noted, the art world had become more about the artists and their surrounding ecosystem than the art itself. This blurring of lines between art and commerce laid the groundwork for the modern art market, where the value of a work can hinge on its ability to generate buzz and interest.