It is in this vein that Damien Hirst’s “Spots” paintings, such as Cefoxitin (2010) continue to comment on the banality of art objects, deconstructed to their most crude form, as they proliferate into mass culture. In the same way Warhol broke down the art object into its more recognizable, repeating forms, pulled from pop culture, Hirst deconstructs the concept of an art object into its most simplified form: dots of color. It would be as if Hirst is replicating the effects of an inkjet printer that copies a Renaissance painting onto a page by way of small bursts of color. Warhol’s use of seriality and mechanical reproduction are certainly being reexamined with Hirst’s Spots.