selling herself short" by saying that was her motivation. In March 2004, Vine said that she had only seen Thomson once, in an art shop, in the previous two years. She later told The Times that it was "impossible to explain" why she married Thomson, that he didn't "give a s*** about art or the Stuckist movement", and that he saw her as a means of gaining his own publicity: "When I met him and he saw some of my history, he saw dollar signs. He is a very exploitative man." In June 2007, Vine said that the marriage was consummated in 2001, a few weeks after the ceremony—"I owed him that"—and Thomson then paid off her debts of £20,000, after which "I've never seen him again." On 28 March 2004, Thomson reported Saatchi to the Office of Fair Trading (OFT) for alleged breaches of the Competition Act and cited as an example Saatchi's promotion of Vine, a situation which made the row "more bitter". The OFT said they did not "have reasonable grounds to suspect that Charles Saatchi is in a dominant position in any relevant market", which Thomson said was "just another cruel smack in the face" for Saatchi. In September 2004, Vine threatened suicide if her work was included in The Stuckists Punk Victorian show at the Liverpool Biennial, and the owner of the painting withdrew it. In October 2006, The Stuckists held a group show, Go West, at Spectrum London gallery, including two of Thomson's paintings, Stripper and Strip Club, "explicit images of his ex-wife." Thomson said the works would make Vine "pissed off", but that she had painted images that were far more upsetting for people, that he would prefer her to enjoy them as he did her art and that they were painted as a catharsis not as an attack. Vine said she had no comment. In July 2007, at the same time as the opening of Vine's major solo show at Modern Art Oxford, Thomson, furious at Vine's refusal to acknowledge her debt to the Stuckists, held a rival Stuckist show at the A Gallery in Wimbledon, I Won't Have Sex with You as Long as We're Married, which Vine apparently said to him on their wedding night. In September, Thomson wrote in The Jackdaw, criticising the Tate gallery for not having work by a number of figurative painters, among whom he listed