In the 2010s, Jenny Holzer's art continued to evolve, reflecting a deep engagement with political issues and the use of technology to reach broader audiences. Her work from this decade shows a clear progression from her earlier LED-based pieces to more complex installations involving declassified documents and exploring themes of violence, trauma, and political power. Holzer's engagement with the physical and mental impacts of violence is evident in her earlier work, Lustmord (1993-96), which, while predating the 2010s, sets the stage for her later explorations. Lustmord was inspired by the systematic rapes during the Bosnian War, incorporating human bones, LED text boards, and photographs to present a harrowing narrative from the perspectives of victims, perpetrators, and observers​ (The Art Story)​. By 2004, Holzer's focus had shifted towards large-scale text-based images projected onto buildings. Her series Xenon for Bregenz, projected on the Kunsthaus Bregenz, utilized declassified documents to critique government secrecy and the balance between transparency and concealment. This work highlighted Holzer's interest in the interplay of light and shadow as metaphors for the tension between disclosure and redaction in American foreign policy​ (The Art Story)​. In the mid-2010s, Holzer continued to explore themes related to national security, censorship, and the manipulation of information with works like Presently in the United States (2014). This piece involves partially censored documents that evoke mid-century Color Field Painting, yet Holzer's addition of barely visible painted text integrates contemporary political concerns, calling for action and awareness​ (The Art Story)​. Throughout the decade, Holzer remained consistent in her use of art to provoke thought and stimulate discussion on crucial social issues. Her work in the 2010s demonstrates a seamless blend of aesthetic innovation and political commentary, marking her as a leading figure in conceptual art. By incorporating technology and engaging with contemporary events, Holzer's art from this period invites viewers to reconsider the impact of words and information in shaping public consciousness and policy.