In 1990, with Sarah Lucas, Bond organised the art exhibition East Country Yard Show, which was influential in the formation and development of the Young British Artists movement; together with Damien Hirst, Angela Bulloch, and Liam Gillick, the two were "the earliest of the YBAs.

[7] The thesis put forward in the book is that homicide can be considered in terms of Jacques Lacan's tripartite psychological model, thus any murder can be classified as either neurotic, psychotic, or perverse.

Ballard, William Burroughs, Friedrich Nietzsche, Jean-Paul Sartre and Slavoj Žižek ... and the films of Alfred Hitchcock, Michael Powell, Michelangelo Antonioni, David Lynch and Christopher Nolan, among many others.

"[14] Writing in the peer-reviewed academic journal Philosophy of Photography, Margaret Kinsman said "Bond's exploration ... reminds us of just how used to order we are and how shocking and easy its dissolution is ... his approach evokes a kind of aesthetic pleasure, which unsettles even as it satisfies.

"[15] Emily Nonko's review said, "Lacan at the Scene ultimately presents a complex dynamic between both psychoanalysis and medium of the camera, the way that photography permits the viewer to delve into both the murder's mind and the victim's corpse, the psychological as well as the corporeal.

"[17] Daniel Hourigan, writing for Metapsychology Online Reviews said, "for the vast majority of the discussions in the more applied third, fourth, and fifth chapters, Lacan at the Scene enjoys a lucid and precise execution.

"[19] In the book, Bond "activates, reconfigures, qualifies, and occasionally contradicts assertions made a diverse range of thinkers and practitioners including Rankin, Stieg Larsson, Antonioni, Charles Baudelaire, J.G.

Monograph books of Bond's street photography include two published in Germany – Point and Shoot (Ostfildern: Cantz) and La vie quotidienne (Essen: 20/21).

Many of the photographs included in the book were originally taken by Bond whilst shooting commissioned features for the style and culture monthly The Face—during the period that the magazine was art directed by Lee Swillingham and Stuart Spalding, 1995–1999.

"[29] Bond's book of street photography Point and Shoot, was published by German fine arts publisher Hatje Cantz Verlag, in 2000; many of the images included imitate forms of photography that are derided or taboo, such as voyeurism and paparazzi photojournalism; other images are grainy and suggest surveillance or CCTV images—the photographer is either an intrusive, prying, nuisance, or else reduced to an automaton-like spectator on daily life.

[30] Writing in The Japan Times, in 2000, journalist Jennifer Purvis said, "Bond elicits a film noir quality from a city that prides itself on the worst side of its nature.

"[31] Reviewing the book in Frieze, the critic Benedict Seymour said, "Bond jumbles up his subjects—street scenes, shop windows, night-clubs, posh parties, backstage fashion shows, intimate portraits and sex club sybaritics—as well as the composition, with the apparent intention of throwing our will to categorise, and so comprehend the image, into disarray.

"[38] Writing in Artforum, art critic and curator Kate Bush said, "[Hirst's] Freeze anticipated a spate of do-it-yourself group shows staged in cheap, sprawling, ex-industrial spaces in recession-hit East London.

[40] One of the works on view was a slide-installation, shown in a darkened room, by artist Mat Collishaw, which presented the viewer with a rapid-fire sequence of stills of Jodie Foster dancing as she appeared in the "rape scene", in Jonathan Kaplan's 1988 movie The Accused.

[47] During the 1990s, Bond made numerous artworks which used appropriated visual material; in particular a series titled One Hour Photo which presented typical snapshots collected from wastebins of High Street photo-processing labs, across London.

[48][49] Bond also exhibited a collaboration with artist Sam Taylor-Wood, titled 26 October 1993, in which he pastiched the role of John Lennon as he had appeared naked, in a photo-portrait with Yoko Ono—shot by photographer Annie Leibovitz—a few hours before he was assassinated.

"[50] In the early-1990s, Bond's work was included in two international survey exhibitions of contemporary art at Villa Arson, in Nice, France, No Man's Time in 1991, and Le Principe de réalité in 1993.

It describes a fashionable and star-encrusted area in the south of France starting from the peninsula Cap Martin and including the Monte Carlo beach and the Riviera.

[61] One example from the series, held in the Arts Council Collection, titled 14 February 1992, documents an auction of the contents of Robert Maxwell's London home at Sotheby's.

[65] The short—which was looped and shown on a multi-screen system—showed grainy black-and-white footage documenting a flâneur's-eye-view of the day-to-day coming and going aboard the plethora of crowded Vaporetto, the waterbuses, in Venice; Bond's deliberately down-to-earth perspective depicting humdrum daily life in the city was intended to oppose the iconic glamorised images of gondolas, etc.

[66] Between 1993 and 1994, "Bond made eight hours of video footage documenting his walks along the river Thames, resulting in a 26-minute film shown at the Design Museum, reformatted as inserts on Channel One, and finally as a book of stills, Deep, Dark Water.

"[67][68] From July through September 1994, Bond's video works were showcased in an eponymous four-person exhibition at De Appel an art centre in Amsterdam—i.e., Deep, Dark Water (1994), Torch (1993), On the Buses (1993), Hôtel Occidental (1993), Big Shout (1993), The Burglars (1992/4), The Softly Softly (1994), Walked (1994)[69][70]—which was selected and organised by curator and theorist Saskia Bos (Dean of The School of Art at The Cooper Union, in New York).

[76] One fashion photograph made by Bond, originally published in the March 2000 issue of The Face, depicted the model Kirsten Owen revealing her panties in a manner typical of the derided and recently criminalised (e.g., in the United States and Australia) voyeuristic "Uppie" or Upskirter.

[77] In 2001, Bond was chosen by company director Roger Saul to photograph the commercial advertising campaign for a brand relaunch of Mulberry, a leather goods company—for which he used actors and celebrity couple David Thewlis and Anna Friel, as models.