The exhibition included 32 new oil on canvas ‘Fact’ paintings, a series which Hirst began work on in 2000. The paintings, intended to be exact copies of photographs, variously took as their subject matter images from newspapers and science journals, or details from Hirst works.
'The Elusive Truth', Hirst explains, was intended as an exploration into our relationship with imagery: “Art has been in a constant battle for hundreds of years with every other kind of image-making … newspapers are supposed to be about facts and truth, and you believe you get a true view of the world from these images when you don’t: they’re completely fake.”
The catalogue published on the occasion of the exhibition included full-colour reproductions of 24 paintings accompanied by texts written, or selected, by the artist, and a short story by the novelist J. G. Ballard (Other Criteria/Gagosian Gallery, 2005).
 Damien Hirst cited in Hans Ulrich Obrist, ‘Interview with Damien Hirst, June-September 2006’, ‘In the darkest hour, there may be light: Works from Damien Hirst’s murderme collection’ (Serpentine Gallery/Other Critieria, 2006) unpag.