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In 1994 Damien Hirst was dicing with institutional sanction, between nomination for the Turner Prize (1993) and winning it (1995). He already occupied a senior position among a generation of young British artists distinctive enough to win the laurels of the definite article. It was a diverse group that blossomed in the late 1980s, many on the fine art course at Goldsmiths, where Michael Craig-Martin and Jon Thompson had replaced specialist divisions with an emphasis on context – art historical, professional, social. Hirst's 'Pharmaceutical Paintings', also known as the spot paintings, began at that time. Two were painted onto the walls of an ex-London Port Authority building at Surrey Docks for 'Freeze', the show that Hirst, then a second-year student, had a much feted part in organising.