Robert Preece, an art critic of "Sculpture" magazine, wrote of the Sotheby's sales of Hirst's work: "I am not concerned with the details of these sales. What matters to me is that they were "announced"—unleashed, picked up, printed, reprinted, accelerated, translated, and multiplied across global media." The performative nature of Hirst's work was later addressed in the exhibition at Tate Modern, "Pop Life: Art in a material world," which critic Ben Lewis found very offensive: "... the gallery texts have the temerity to claim that the greed-fuelled auction sale was a work of performance art in itself. That’s just the same as Stockhausen calling 9/11 a work of art."