The punk movement of the 1970s to early 1980s is examined as an art movement through archive research, interviews, and art historical analysis. It is about pop, pain, poetry, presence, and about a ‘no future’ generation refusing to be the next artworld avant-garde, instead choosing to be the ‘rear-guard’. Skov draws on personal interviews with punk art protagonists from London, New York, Amsterdam, Copenhagen, and Berlin, among others the members Die Tödliche Doris (The Deadly Doris), members of Værkstedet Værst (The Workshop Called Worst), Nina Sten-Knudsen, Marc Miller, Diana Ozon, Hugo Kaagman, as well as email correspondence with Jon Savage, Anna Banana, and Genesis Breyer P-Orridge. A large portion of the discussed materials stem from the protagonists' private archives, while some very public—scandalous and spectacular—events are discussed, too, such as the Prostitution exhibition at the ICA in London in 1976 and Die Große Untergangsshow (The Grand Downfall Show) in West-Berlin