In the 2000s, Georg Baselitz continued his prolific career, deepening his exploration of inversion, abstraction, and the human figure, themes that have consistently marked his oeuvre. Baselitz's work from this period is characterized by a continuation of his practice of painting subjects upside down, a technique he began in 1969. This method has become a defining feature of his work, emphasizing the artifice of painting and challenging viewers' perceptions​ (Wikipedia)​. Throughout the 2000s, Baselitz remained active in the international art scene, living and working in locations near Hildesheim, Munich, and Imperia, Italy. His work was featured in significant exhibitions in London at the Royal Academy of Arts and the White Cube gallery. These exhibitions underscored his enduring relevance and the continued fascination with his work​ (Wikipedia)​. Baselitz's adaptation of earlier sources extended to his own work, particularly evident in his YBA-inspired "Remix" series of the mid-2000s. His fervent painting style imbued even his most pastoral images with a sense of immediacy. Known primarily for his upside-down paintings, Baselitz's inverted canvases highlight his unique approach to art, calling attention to the process of painting itself and the materiality of the canvas​ (Artspace)​. Throughout his career, Baselitz has been recognized for disrupting conventional orders and breaking common conventions of perception, shaping his personal experiences into his artistic principles. This ethos is reflected in his work from the 2000s, which continues to engage with themes of destruction, renewal, and the questioning of artistic norms​ (Wikipedia)​.