Perhaps I’ve confused some readers with this introduction. So, let me start out by stating: I love Damien Hirst’s skull, otherwise titled For the love of God (2007). Why, you might be asking? Because this work designed by Hirst and his team brilliantly fuses the media/communications potential of an artwork with its artistic expression. And with the skull’s complementary contexts, this media/communications combo (the artwork and its language) propelled its reach far beyond the art world, securing it a wider range of media coverage, even to the point of hitting the headlines in several countries.