At a time when the YBA’s self-conscious fascination with vernacular preoccupations were being assiduously promoted by the British art establishment, the Menus sought to kindle a degree of friction in the protocols governing cultural consumption. It was also an attempt to register a growing interest in the way that Minimalist form had been embraced by corporate capitalism, to the extent that it is now synonymous with its presentational face. With its cool colour schemes, geometric form and sleek surfaces the Minimalist aesthetic has become capital’s décor of choice, an aesthetic ‘front’ for power and commerce.