This ‘Fact’ painting depicts one of Hirst’s studio assistants installing the ‘Natural History’ work ‘Love Lost’ (2000) – a vitrine which contains a gynaecologist’s office submerged in water housing shoals of African river fish.
Hirst began work on the ‘Fact’ painting series in 2000 – his goal being to attempt to reproduce photographs in precise, realistic detail through the traditional medium of oil on canvas. The paintings explore our relationship with imagery. Hirst explains: “I want you to believe in them in the same way as you believe in the ‘Medicine Cabinets’. I don’t want them to look clever, but to convince you. The painting process is hidden as it is in my work ‘Hymn’ (1999 - 2005), which looks like plastic, but is bronze underneath.”
‘Lost in Love’ exemplifies the attempt this series makes to explore the nature of our relationship with imagery, in that the piece is a painting of a photograph of an artwork. As Hirst explains: “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 painting was included in Hirst’s exhibition of new work at Galería Hilario Galguera in Mexico in 2006 titled 'The Death of God'.
 Damien Hirst cited in ‘Interview with Damien Hirst’, Sarah Kent (Time Out, November 2006)
 Damien Hirst cited in ‘Interview with Damien Hirst June-September 2006’ Hans Ulrich Obrist, ‘In the darkest hour, there may be light: Works from Damien Hirst’s murderme collection’, (Serpentine Gallery/Other Critieria, 2006) unpag.