Tracey Emin's art in the 1990s marks a significant period in her career, during which she established herself as a prominent figure within the British contemporary art scene. This decade was pivotal for Emin, showcasing her deeply personal and confessional approach to art that would come to define her work. In 1993, Emin, alongside fellow artist Sarah Lucas, opened "The Shop" in Bethnal Green, East London, selling art items ranging from T-shirts to ashtrays. This endeavor marked a departure from traditional art practices, introducing a commercial aspect to their work and signaling the emerging commercialism of the Young British Artists (YBAs) movement. Emin's first solo exhibition, "My Major Retrospective" at White Cube gallery, also took place in 1993, featuring personal photographs and items, highlighting the autobiographical nature of her work​ (The Art Story)​. One of the most defining moments of Emin's career in the 1990s was the creation of "Everyone I Have Ever Slept With 1963–1995" in 1995, a tent appliquéd with the names of everyone she had ever shared a bed with, whether sexually or not. This piece, alongside her infamous "My Bed" in 1998, showcased Emin's unapologetic exploration of personal experiences, relationships, and sexuality. "My Bed" was shortlisted for the Turner Prize in 1999, sparking considerable media attention and public debate about the nature of contemporary art​ (Wikipedia)​. The 1990s also saw Emin becoming closely associated with the YBAs, a group of artists known for their shock tactics and unconventional materials, even though she did not join them artistically until the early part of the decade. Her involvement with the group and her controversial appearances on television, particularly her infamous drunken appearance on a live panel discussion about the Turner Prize in 1997, contributed to her public persona as the "bad girl of British art"​ (The Art Story)​​ (Wikipedia)​. Despite the controversies and criticisms, the 1990s solidified Tracey Emin's status as a key figure in contemporary art, with her works from this period laying the groundwork for her future explorations of love, loss, and human experience. Her art from the 1990s, characterized by its raw and unfiltered emotion, continues to resonate with audiences and remains central to understanding Emin's artistic legacy​ (Artland Magazine)​.