In the 2000s, Barbara Kruger continued to evolve her art, deepening her engagement with digital technology and expanding the scale of her installations. This period saw Kruger maintain her critical edge, exploring themes of consumerism, power, and identity with renewed vigor and incorporating contemporary cultural references and digital advancements into her work. One significant aspect of Kruger's work during this period was her immersion in popular culture and reality television, which influenced her artistic exploration of skewed representations of reality. Kruger's fascination with reality shows and her voracious consumption of news from serious outlets like the Guardian informed her critique of value, materialism, and consumerism in American culture. Her art from the 2000s continues to reflect on how we pose as ourselves, drawing connections between the performance of identity in reality TV and in broader societal contexts​ (Smithsonian Magazine)​. Kruger's installations from the 2000s often enveloped viewers in immersive environments of text and imagery. For example, her work "Untitled (Shopping)" (2002) was a large-scale installation on the façade of Galeria Kaufhof in Frankfurt, showcasing her signature style of direct engagement with the viewer through confrontational phrases set against the backdrop of consumer spaces​ (Art21)​. Another notable work from this period is "Twelve" (2004), a video installation that featured multiple projections, each looped with different sequences of talks, further demonstrating Kruger's adept use of digital media to create impactful, thought-provoking art​ (Art21)​. Throughout the 2000s, Kruger's work not only remained relevant but also gained commercial success, as seen in the immense installation exhibited at the Gallery of Modern Art in Glasgow in 2011. Works from this period, characterized by block letters on monochrome vinyl backdrops, fetched high prices at auction, underscoring Kruger's significant influence in the contemporary art world​ (Phillips)​. Kruger's art from the 2000s solidifies her status as a critical observer of modern culture, adept at navigating and critiquing the complex intersections of power, identity, and consumerism. Her work from this era, marked by an increased use of digital technology and immersive installations, continues to challenge and engage audiences, prompting reflection on the pervasive influence of media and consumer culture on our lives.