Damien Hirst's Medicine Cabinets, spanning from 1988 to 2012, stand as a significant part of his oeuvre, exploring the intersections of art, medicine, and consumer culture. These works consist of steel and glass cabinets filled with the packaging of various medications, presenting a minimalist yet profound commentary on society's relationship with pharmaceuticals. Hirst utilizes the aesthetic simplicity of medicine packaging to delve into broader themes of life, death, and the inherent belief systems surrounding medicine and healthcare.

The Medicine Cabinets series, along with Hirst's Spot and Visual Candy paintings, collectively question the cultural role of prescription drugs, how they are marketed, and the promises they convey to consumers. These artworks highlight the minimalist beauty of pharmaceutical design while simultaneously critiquing the commodification of health and the false promises of a cure-all society seeks within these drugs​ (Gagosian)​​ (Mnuchin Gallery)​.

Through these works, Hirst plays with the idea of preservation—not just of the physical body through medicine but also of societal norms and beliefs around health and wellness. His approach is direct, often eschewing the abstract or the obtuse for a more straightforward, albeit provocative, exploration of these themes. The Medicine Cabinets, like much of Hirst's work, are a blend of the real and the surreal, inviting viewers to reflect on their own perceptions of and relationships with medicine and mortality​ (The Mastery of Daftery)​.

Damien Hirst’s exploration in the Medicine Cabinets series is a critical inquiry into the nexus of art, life, and pharmacology. By presenting these everyday items within the context of art, he encourages viewers to reconsider their commonplace roles and the broader implications of their use in society.