‘He is so new. So fresh. His work oozes ideas. He is infected by a deep love of the macabre and is completely unflinching. It challenges our morals. Do you see?’

‘I’m not sure I do see. The artist calls himself @nonymous. I’d like to speak with him. Do you have a number?’

‘I’m afraid not.’

‘An address?’ asks Quinn.

‘Sadly, no.’

‘Presumably you have had some dealings with him?’

‘No. None at all,’ Cosgrove replies, as if proud of the fact.

‘You’ve never met him or even spoken to him?’

‘Correct.’

‘No emails?’

‘None.’

‘Why is that?’

‘Because he is an enigma, Detective. No one knows who he is. That is part of his mystery, his persona, his brand. Like Banksy.

Quinn interjects, ‘Miss Cosgrove, we believe that the video in your window depicts the murder of a homeless man.’

The woman’s eyes widen behind her large spectacles, giving her an owl-like expression of surprise.

‘Miss Cosgrove, please explain to us how the video art of @nonymous came to be in your gallery.’

She pauses for a moment and looks to the side, frowning as if deep in thought.

‘I was contacted through Facebook.’

‘So you did receive an email?’

‘No, it was a message, not an email. On Facebook Messenger.’

‘Was it @nonymous who contacted you?’

‘No. It was one of his people, I believe.’

‘Did they give their name?’

‘No name.’

‘What did the message say?’

‘That @nonymous would be delighted to exhibit the first of his “Forsaken” exhibition here at my gallery. I was beyond thrilled, as you can imagine, and jumped at the chance.’

Archer is suddenly distracted by a crowd of people gathering around the window display. They are holding up smartphones and filming the videos.

‘His fans are growing in number,’ says Cosgrove.

Quinn walks to the window, finds the TVs’ power source and unplugs them.

‘What are you doing?’

‘Police evidence, Miss Cosgrove,’ says Archer smoothly. ‘Tell me, how did you receive the videos?’

‘They were delivered by courier.’

‘Do you know the name of the courier company?’

‘I’m afraid not.’

‘Did you receive a delivery receipt?’

‘No.’

She hears Quinn putting a call through to Charing Cross requesting evidence bags.

‘You mentioned his fans are growing in number. Aside from the Internet, how would they get access to his work?’

‘His work is mainly video based. However, he does do graffiti art versions of his videos which can be seen at various spots around London. He seems to have tapped into the millennial consciousness and brought to the surface a hunger for brutality exhibited through old and new technology. He has gained a loyal following. As a fan myself, I’m really shocked he has somehow been involved in murder. I can’t quite believe it.’

Quinn’s phone rings. He answers and turns away.