In the 1990s, Damien Hirst put British art on the map, not only with his morbidly spectacular sculptures of complete or bisected animals pickled in formaldehyde, but even more through his entrepreneurial energy and drive. While he hogged the headlines, fellow sculptor Rachel Whiteread was quietly establishing a heavyweight reputation for herself by making casts of everyday domestic objects and spaces, a sequence of work that culminated in House, in 1993 (the year she won the Turner Prize), a remarkable, full-size cast of the interior of a house, left standing like a ghost when the building itself was demolished. Despite appeals, the ghostly cast was in turn demolished, but it was a fitting emblem of the real potential of neo-conceptualism in a decade when, as one noted critic put it, most art consisted of one-liners.