"Julian Stallabrass, in his Verrine blast against Britart, combines the early Berger's fierce critique of consumerist contamination with the later Berger's sense of art's high purpose."-Marina Warner, London Review of Books "I cannot help but endorse his analysis of the high art lite tendency . its abject willingness to be f**ked up by the cult of celebrity; f**ked over by the 1990s boom in consumerism; f**ked sideways by its adoption of the styles and modes of popular culture; and f**ked to buggery by its co-option by a new Labourite idiotology."-Will Self "A lacerating analysis of the reactionary tendencies of high art lite itself."- Financial Times "This is a sharp and sensible book about something that seemed unlikely to attract such treatment-the new, rude, jokey, confrontational British Art of the 1990s."- Evening Standard "A full-throated attack on the 'new British art,' a movement obsessed with commerce and cults of the personal, that manages to be smarter and more far-reaching than its hyped-hopped-up subject . Nimbly written and bolstered by a constellation of critical and cultural referents: balanced, engrossing, historically framed examination of this latest avant-garde, so startling yet so oddly familiar."- Kirkus Review "He asks the questions that people would like addressed, and gives the thoughtful and provocative answers.

What is the real worth of these artefacts?"-Richard Gott, Independent "Stallabrass has done us all a favour. He's taken on a dirty job and we are all indebted to him . his analysis is lucid and penetrating. It's also quite funny . something to be read voluntarily with pleasure."- Art and Language, everything magazine.