Prospect Magazine, by Ben Lewis - The skull, wittily titled For the Love of God, is certainly dazzling, and very much of its time. With its widely reported but unverifiable £50m price tag, it is a work that an artist could only afford to make at a time when the art market is booming. It glorifies death, and it ironises the Christian message that your wealth is not taken with you to the grave. Yet its aesthetic value remains uncertain. Has Damien Hirst found a new way of capturing the imagination of a mass audience? Or is For the Love of God a gimmick: grotesquely extravagant in its execution and inane in its meaning? This question hovers over all Hirst’s work.

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