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Hirst's success ensues from a brilliant marketing strategy. As artist Dinos Chapman noted, Hirst's skull painting is "'a work of genius -- not the art, the marketing'" (Thompson, 69). Hirst has combined several tactics to achieve this marketing "work of genius." He produces his work in mass quantities, employing forty assistants in four different factories. In art world dictum, mass production may equate to the devaluation of artistic works, but Hirst has eschewed such precepts, and it seems to have paid off. Mass production has enabled Hirst to reach, well, the masses, and in so doing to create name recognition that in turn drives up the prices at which he is able to sell his art. Hirst is also not afraid to use a broad range of commercial marketing strategies to raise his profile: He "emulates fashion designers in also selling a diffusion brand line," so that "visitors unable to afford \[his\] paintings or the signed prints \[...\] could purchase T-shirts" (Thompson, 67). His tactics, if sensationalistic, are difficult to top: He was the "first artist to have his work sent into space," and his art has appeared in popular movies "representing the art and culture of the 20{^}th^ century (Thompson, 68). Hirst will take any opportunity available to ensure that more people know his name. Mass marketing, mass production, combined with a proclivity for attaching brilliant, rather sensationalistic titles to his pieces and thereby guaranteeing discussion and publicity, has allowed Hirst to muscle his way into the status of name brand to the point where people buy "Hirsts," not Hirst paintings (Thompson, 66).  As a result of Hirst's "flair for marketing" the exploitation of branding techniques, "his art brings in people who would never otherwise view contemporary art," thereby broadening cultural interchange and discussion.