[3] It was painted in 2000 by the Stuckism co-founder Charles Thomson, and has been exhibited in a number of shows since, as well as being featured on placards during Stuckist demonstrations against the Turner Prize.

[7] Richard Dean wrote: Thomson has painted what must be the masterpiece of Stuckism so far: Sir Nicholas Serota Makes an Acquisitions Decision.

[8]The painting was included in the show catalogue, a signed copy of which was left at the Tate for Serota by Thomson and Billy Childish, the co-founder of the Stuckists.

A few weeks after I did the painting, Tracey Emin was shown on TV getting very angry about an installation because someone had substituted another pair of knickers for hers ... That makes it a bit sad.

In the eccentric British group’s latest show the most explicit target is clearly the Turner Prize: the attitude can be summed up in one painting, Charles Thomson’s Sir Nicholas Serota Makes an Acquisitions Decision".

[4] The Spectrum London director, Royden Prior, said people shouldn't just look at the politics, but should look beyond them because "These artists are good, and are part of art history," [17] Jane Morris wrote in The Guardian, "If the stuckists go down in art history, and the jury is still out as to whether they will, Sir Nicholas Serota Makes an Acquisitions Decision by stuckist co-founder Charles Thomson may well become their signature piece.

"[19] The painting was used on one of the placards, when the Stuckists staged a protest at the unveiling of Rachel Whiteread's sculpture, Untitled Monument, in Trafalgar Square on 4 June 2001.

[22] This incident was caught by a freelance photographer, Rick Friend, on video, which was put on the Stuckism web site, along with the still image from it shown here.

He later visited the Stuckists' Punk Victorian show and conversed amicably with members, but ended his visit by rejecting an offered donation of their work as lacking "sufficient quality in terms of accomplishment, innovation or originality of thought to warrant preservation in perpetuity in the national collection"[24] Writer Paul Vallely defended Serota from Stuckist campaigns, criticizing the movement's anti-conceptualism for its association with "forces of social reaction" such as the Daily Mail and upholding Serota as the "greatest single champion of modern art in Britain".

Three years before, she had been a member of the Stuckist group and also briefly married to Thomson, who said that she was aware of the media appeal of the idea, as he had shown her press cuttings of the painting.