Britain’s art community never heard tell of Richard Billingham until he exhibited a staunchly candid series of photographs in his first group exhibition at London’s Barbican Art Gallery in 1994. Reminiscent of a long-established, photographic autobiographical genre, as seen through the revolutionary lenses of Nick Waplington and Nan Goldin, Billingham captured the emotional plights and debilitating vices of his family’s working-class pedigree over a six year period from 1990-1996. His Ray’s a Laugh series is the quintessential visual document in determining the pervasive failure of Conservative domestic policies with respect to the disassembly of the welfare state and the de-industrialization of Britain.