Fingers Crossed brings a wry, almost sardonic energy to the Triple Trouble collection, blending superstition and hope with the unsettling undercurrents that define both Fairey's and Hirst's bodies of work. The use of PVC tiles references the tactile, grid-like structures of urban surfaces and mosaic tradition, while the pills strewn across painted paper suggest that hope in the modern age is as likely to come in a blister pack as from genuine fortune. Fairey's graphic precision anchors the composition in the visual language of posters and propaganda, lending a gesture as personal and private as crossed fingers the scale and authority of a public slogan. The title gestures toward uncertainty and wishful thinking, a thematic thread that resonates powerfully against Hirst's longstanding exploration of mortality and the limits of human control over fate. The result is a work that is simultaneously playful and deeply melancholic, treating optimism as both a cultural performance and a fragile, chemical act.