PONTIAC, MI.- The Museum of New Art presents: Billy Conklin's IS LONDON BURNING, Portraits taken within 24 hrs of the July transit bombings in London. Within the first 24 hours of the recent subway bombings in London, artist Billy Conklin was observing and taking pictures. Is London Burning at Detroit's Museum of New Art is Conklin's record of the emotional gamut he witnessed ”rage, sorrow, disbelief and fear. The photos speak more eloquently than any editor's editorial or any politician's speech.

Conklin's work here has an allusive Duchampian wit, a Magrittian mystery, and a diabolic Swiftian mastery. Since narrative plays as a primary means of organizing people's lives and experiences, Conklin has created a long string of art narratives that some critics have described as superfictions. Other critics have suggested that his work is so far beyond what can properly be considered art, that they use the term 'postart' to describe it. Yet within all these definitions Conklin has set up a powerful negative logic, aimed to question the nature of art and art institutions. And, perhaps, even the culture that builds and decides such things. And life itself.

Conklin is one of the so-called second generation Young British Artists (YBAs). He is second only to Damien Hirst among the new YBAs in terms of notoriety with the general public. Although several early exhibitions caused Conklin to be well known in art circles, he was largely unknown until he appeared before the public on a BBC television program. It was a South Bank production that visited young artist's studios. Conklin was completely drunk at the time, repeatedly saying he wanted his "telly" back and brandishing what turned out to be a starter's gun. It seems he drunkenly thought the television crew was from his cable company. It all ended with Conklin pushing a grip through a plate glass window. Although no one was injured, the incident secured Conklin's career.

Critical responses to Conklin's influence remain disputed. His output in a short period of five years has produced some of the most virulent anti-icons of contemporary art; the centerfold icon has been much imitated and parodied in books and advertising. However Conklin himself admits that he has had serious drug and alcohol problems for much of these years and much of the work done since 2004 has been argued to be repetitive and reductive. The majority of Conklin's works are made with assistants and other technical supports which some argue makes his authorship questionable. It is also argued that his focus on celebrity has contributed to the trivialisation of contemporary culture. If nothing else, Conklin certainly has had a key role in giving the visual arts a continued profile in British public life.