Damien wanted to do the show, and he found — I can’t remember if he found that building first or if he was looking at different buildings, but I mean we talked about it for the whole year. It just went on and on and on and on. The show didn’t happen until like the summer, but I remember we were talking about it in the winter. At some point there were probably like 30 people in it. I mean all sorts of people were asked to be in it, that never were in it in the end. And there’s even Dominic Dennis, who’s listed, who’s in the catalog, and he did a lot of work actually with us renovating the space and preparing the space.
His paintings weren’t actually ever exhibited in the exhibition, because he kind of got booted out for lots of different reasons when we started — when we did the final selection of how the show was physically actually going to be. So, it didn’t seem like a big deal. And in lots of ways it wasn’t really a great show. If you really look at the work in it, it wasn’t a great show. It was more to do with the kind of ambition and the energy of it. I don’t know if you put that down to youthful exuberance, that maybe we were being really arrogant. It didn’t occur to us, it’s just that kind of Chutzpah you have at a certain point in your life where you think everything you do is great, and of course people are going to want to pay attention.1
So, yeah, we all — I mean it was Damien’s idea, but everyone was very actively involved in making the space and doing all of this different stuff.2 We got Ian Jeffrey, who was like the art historian at Goldsmiths, to write this kind of essay for this catalog. Ed Woodman, who at the time was the professional art photographer for The Lisson and for many of the galleries that were in London. He documented it. So, there was just a certain level of professionalism that we took onboard, and then I remember when the catalog was finally printed, we didn’t really have money to post it, and Angus and others went around on their bicycles, we cycled around and we delivered them to Waddington’s and d’Offay’s and all these fancy galleries. The kind of naivety about it, it’s kind of charming and kind of laughable.