Barbara Kruger's work in the 1990s continued to evolve and expand, pushing the boundaries of conceptual art and societal critique. This period marked a significant shift in her methodology, from her earlier collage-based works to the incorporation of digital technology, allowing for more complex and immersive installations. Kruger's art during this time remained deeply rooted in addressing critical issues such as consumerism, power, gender, and identity, maintaining her distinctive use of bold text over imagery to challenge and provoke thought​ (Artland Magazine)​. Throughout the 1990s, Kruger's work became increasingly involved with the exploration of digital mediums and large-scale installations, reflecting her continued interest in the intersections of art, technology, and social critique. She embraced digital technology to create electronically built installations that still revolved around her core politically biting slogans. This new approach enabled Kruger to create environments that submerged viewers in language, sometimes through audio and video projections, effectively engaging with and expanding her critique of cultural and political issues​ (Artland Magazine)​. Notably, Kruger's work from this period includes impactful installations and artworks such as "Untitled (Who is free to choose?)" (1990), "Untitled (It’s our pleasure to disgust you)" (1991), and a series of thought-provoking pieces exhibited at Mary Boone Gallery, which continued to question societal norms and the construction of identity and power. Pieces like "Untitled (You pledge allegiance to your dick and to the pussy for which it stands)" alongside "Untitled (All violence is the illustration of a pathetic stereotype)" (both 1991) highlight her unabated commitment to addressing gender dynamics and the pervasiveness of violence in society​ (Art21)​. Kruger's installations from the 1990s, such as "Belief+Doubt" (2012) showcased at the Hirshhorn Museum, exemplify her ability to create immersive spaces that confront and engage the viewer directly with questions of belief, power, and doubt. This evolution in her practice reflects a broader engagement with digital culture and its impact on society, demonstrating Kruger's acute awareness of the changing landscape of media and communication​ (Artland Magazine)​. Kruger's work in the 1990s solidified her position as a leading voice in contemporary art, adept at utilizing the visual language of advertising and media to critique the very foundations of modern culture. Her transition towards digital technology and large-scale installations did not diminish the potency of her critique but rather expanded the scope and impact of her work, maintaining her relevance and influence in the art world and beyond​ (Artland Magazine)​​ (Art21)​.