In the 1990s, Jenny Holzer's art continued to evolve in both scope and medium, marking a period of intense creativity and exploration. This decade saw Holzer delve deeper into themes of violence, war, and the human condition, employing her signature text-based art to provoke and challenge her audience. A significant focus of Holzer's work during this time was the "Lustmord" series (1993-1995), which confronted the atrocities committed during the Bosnian War, particularly the systematic rape of women. The series was marked by its haunting exploration of violence and trauma, employing various mediums such as photography, text on human skin, and objects to evoke a visceral response from viewers. This work not only displayed Holzer's capacity to address profoundly disturbing subjects but also highlighted her innovative use of medium and form to communicate complex messages​ (Wikipedia)​. The 1990s also saw Holzer's continued use of LED technology, with projects such as "Xenon for Venice" (1999) and "Xenon for Rio de Janeiro" (1999). These large-scale light projections showcased Holzer's adeptness at integrating her work within diverse urban and architectural contexts, further extending her exploration of public space as a medium for art. Through these installations, Holzer's phrases reached a broader audience, illuminating public buildings and landscapes with her characteristic blend of political insight and poetic expression​ (Art21)​. Holzer's engagement with public discourse was further exemplified in her representation of the United States at the 44th Venice Biennale in 1990. This prestigious event marked a significant moment in her career, earning her the Leone D'Oro for best pavilion. Her installation there, which combined LED signboards with marble benches, showcased her ability to create a solemn and contemplative space dedicated to reflection on the texts presented, balancing the immediacy of LED technology with the timelessness of marble​ (Wikipedia)​​ (Art in Context)​. Throughout the 1990s, Holzer's art remained deeply political, addressing issues of power, violence, and identity. By incorporating texts from various authors and documents, including government documents concerning wars in the Middle East, Holzer's work from this period exemplifies a shift towards a broader engagement with global issues, reflecting an ongoing concern with the politics of discourse and the role of art in society​ (Wikipedia)​. The 1990s solidified Holzer's standing as a significant figure in contemporary art, demonstrating her unwavering commitment to using language as a tool to engage, confront, and provoke. Through her innovative use of technology and public spaces, Holzer continued to challenge viewers, encouraging them to contemplate the complex layers of meaning within her work.