In 2007 Hirst was invited by the landmark New York skyscraper Lever House, to create a site specific installation for the building’s lobby. ‘School : The Archaeology of Lost Desires, Comprehending Infinity and the Search for Knowledge’ is described by the artist as: “his flock. An installation without any walls, only glass.” The piece included three rows of equally spaced tanks of formaldehyde-preserved, flayed sheep carcasses acting as pupils. The tanks were laid out on autopsy tables, and the bodies – severed from the heads – are fed through intravenous tubes. At the rear of the classroom was a shark in a tank on which was placed a tree branch. Beneath the autopsy table carrying the shark’s tanks was an overflowing ashtray. Hirst made the installation’s focal vitrine work after Francis Bacon’s ‘Painting’ (1946). Explaining: “when [a work] becomes three-dimensional it turns into something else. And [Bacon’s paintings] work incredibly well, three-dimensionally.” Bacon’s technique of boxing in his figures within three-dimensional ‘spaceframes’ also relates to Hirst’s use of “spatially containing” his sculptures in vitrines and tanks.
The complex installation also included: two live birds in a cage; a scribbled on blackboard; a series of ‘Medicine Cabinets’ and backwards-running clocks. It was accompanied by a soundtrack written by Antony Genn and Martin Slattery.
 Damien Hirst cited in Carol Vogel, ‘Damien Hirst and Lever House: In New York, a $10 million “School’’’, New York Times, 12 November 2007
 Damien Hirst cited in Damien Hirst and Gordon Burn, ‘On the Way to Work’ (Faber and Faber, 2001), 180
 Damien Hirst, ‘I Want to Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now’ (Booth-Clibborn Editions; Reduced edition, 2005), 33