To anyone with a passing knowledge of the YBAs this book offers precious little beyond what is already known. Vignettes such as YBAs penchant for getting plastered with celeb mates in exclusive drinking holes are widely known stories as is their rise from squat-like studios on the urban periphery to controversial super-stardom by the end of the decade.
Where Muir's insights come they seem limited to the gallery infrastructure that links artists to their patrons, but surely this isn't why people pick up the book.
Of course to provide lurid tabloid style revelations would be a betrayal of the YBAs he was close to, though one senses Muir was an acquaintance rather than close friend to many on the scene, but nevertheless some more critical engagement with the subject of the YBAs would have been interesting. Such engagement with the ideas of the YBA movement does come in the last couple of chapters which is interesting, possibly betraying Muir's origins as an Art magazine essayist, providing by proxy some well targeted critique of the bloated excesses of YBA art however, it seems to be too little too late.