headed back to London, for a showdown with Whiteread on the steps of the Tate. When she again refused to accept the money, the K Foundation explained that it would be burnt. With the crowd of now very drunk witnesses looking on, a masked K Foundation operative (Gimpo) fumbled with matches and lighter fluid. At the last moment Rachel Whiteread emerged from the Tate and accepted the money, stating that she would give it as grants to needy artists.Sawyer, Miranda, "But is it Art?", Select, February 1994 (link ) Media and art-world reaction A huge amount of press publicity ensued, with all the major newspapers and press organisations reporting that Whiteread had won both awards. Media reaction to the K Foundation award was mixed. David Mills wrote in The Times that The K Foundation's campaign was "tiresome", and he asked "Doesn't it strike anyone as odd that a group of people who made their money with such artistic endeavours as a disco-version of the Dr Who theme should be suggesting that contemporary art was somehow more fatuous than that?" Rachel Whiteread had an advertisement printed in the British magazine, Art Monthly, in which she outlined her plan to donate £10,000 to Shelter and distribute the remainder in grants to 10 needy artists. In the advertisement Whiteread stated that she "does not agree with the K Foundation's aims or methods"; the advertisement was in a similar style to the K Foundation ads, with stark white text on a black background. Defending Whiteread, Lord Palumbo told The Guardian that: "Talent at the highest level attracts derision. We must let the artist fail." Scottish sculptor David Mach opined to Scotland on Sunday that "They're just a bunch of silly buggers. It's good to see money going from a bunch of silly buggers to an artist who is going to make good use of it. What's that saying about a fool and his money...?" John Bellany, on the other hand, said that "The emotional, artistic side of [his] nature... admire[d] the audacity and imagination, challenging art and the art manipulators. The rational side of me asks, is this the most expensive art publicity stunt this century, and for whom?" Whiteread's agent Karsten Schubert said, "The whole affair was a non-event. They achieved nothing and they were left looking like real prats." Peter Chater, a director of Schubert's agency concurred; he called Drummond and Cauty