One significant body of work that exemplifies Holzer's deep engagement with political and social issues is her "War Paintings," unveiled at the Venice Biennale in 2015. These works are based on government documents related to military operations in Afghanistan and Iraq following the events of 9/11, highlighting the global war on terror. The documents, which were released under the U.S. Freedom of Information Act, include memoranda, diplomatic communications, autopsy reports, interrogation records, and detainees' handwritten notes, all heavily redacted before public release​ (Artlyst)​.

Holzer's approach to the "War Paintings" is deeply meticulous and reflective. She hand-painted the documents over two years, adding a pearly sheen to the canvases that juxtaposes the stark, censored texts and markings central to the works. This contrast underscores the precious care Holzer takes in handling these documents, using painting not merely as a form of communication but as a medium to convey time, care, and human attention. The artist herself has stated that this meticulous process was intended to signal sincerity and a human touch to the treatment of the content​ (My Art Guides)​.

Critics have drawn comparisons between Holzer's "War Paintings" and the works of other artists, such as Andy Warhol's early 1960s "Death and Disaster" series, as well as the abstract expressionism movement, Russian suprematism, and traditional Arabic dust writing. The transformation of government documents into art invites viewers to engage with the content both visually and textually, sparking discussions and debates around the themes of war, censorship, and public accountability​ (Cornerhouse Publications)​.

Holzer's later series, "Dust Paintings," continues her exploration of government abuses during the war on terror. Using documents obtained through the Freedom of Information Act, including censored texts from the CIA, FBI, and U.S. Army Criminal Investigation Reports, Holzer creates oil-on-linen paintings that highlight phrases such as "tortured," "not guilty," and recount the conditions leading to the death of an Afghan prisoner. These works mark a shift back towards hand-painting, a medium Holzer began her career with, allowing her to further explore and expose the complex relationship between government policies, secrecy, and the spread of extremism​ (Artsy)​.

Through her "War Paintings" and subsequent works, Jenny Holzer provides a profound and unsettling commentary on the nature of war, government secrecy, and the human condition. Her art serves as a bridge between the public and often obscured realities of government actions, compelling viewers to confront uncomfortable truths and engage in critical reflection on their own roles and responsibilities within a global context.