> crap art that no one wanted.

Through the kunstuitleen they leased and sold art to galleries and private homes. It was like a library for contemporary art which paid struggling artists and their families, while also exposing the public to more art.

To say that "no one wanted" is a massively overblown. Thousands of art pieces lived happily in many Dutch homes.

OK, maybe my use of that phrase was a bit ill-judged. However, aside from supporting artists, what did the initiative achieve? Keeping artists off the dole should not be, IMHO, a goal in itself. The reputation of Dutch culture at the time was not brilliant, though neither was it bad. A strategic attitude would have been more effective... maybe target one or two artists and promote them.

The Young British Artists (YBA) boom of the 80s was a product of the innovative teaching environment of Goldsmiths' college plus the drive of people like Damien Hirst, who organized the ground-breaking Freeze exhibition. The British Council did their best to capitalize on this.