Presents an analysis—some argue an authoritative account—of one of the defining contemporary art phenomena of the 1990s, the ‘young British artists’ (i.e. Damien Hirst, Tracey Emin, the Chapman brothers, Sara Lucas, etc.) and how their emergence as art-star celebrities aligned with the market interests of collector Charles Saatchi to reshape certain dynamics between fame and value in the contemporary art market over the past 15 years or so.