Jenny Holzer's art in the 2000s continued to explore the themes of language, power, and public space that have defined her career. Her work this decade included large-scale public installations, electronic LED signs, and light projections that often incorporated texts from a variety of sources, ranging from her own writings to those of notable poets and political documents. Early in the decade, Holzer presented "Xenon for Oslo" (2000), a light projection in Norway, and a significant installation at the Neue Nationalgalerie in Berlin (2001) that featured selections from her broad array of previous works including "Truisms," "Inflammatory Essays," and "Survival," among others​ (Art21)​. These installations were characteristic of Holzer's use of text to engage with public spaces, blending art with the urban environment in a manner that encourages public interaction and contemplation. Another notable project was "Purple Cross" (2004), exhibited at Galerie Yvon Lambert in Paris, which showcased Holzer's engagement with literary works, featuring text from "MIDDLE EARTH" by Henri Cole. This period also saw her "Xenon for Bregenz" light projection in Austria (2004), which included texts from her series "Arno" (1996)​ (Art21)​. In these works, Holzer used light and text to create immersive environments that question and provoke. A particularly poignant installation was "For 7 World Trade" (2006), an electronic LED sign installed at the 7 World Trade Center in New York, reflecting on themes of memory and loss in the context of 9/11. The same year, Holzer transitioned to using oil on linen in works such as "BIG HANDS YELLOW WHITE," "HE DID NOT SEE ANY AMERICANS BLUE," "COLIN POWELL GREEN WHITE," and "WISH LIST BLACK," marking a departure from her usual medium and showcasing her versatility as an artist​ (Art21)​. Throughout the 2000s, Holzer's work remained deeply political and socially engaged, often reflecting on war, feminism, power, and death. Her use of language—whether projected, LED-displayed, or painted—continued to challenge viewers to consider the impact of words in shaping reality and consciousness. By integrating her work into public spaces and employing modern technology, Holzer's art of the 2000s emphasized the interconnectedness of individual experiences with global narratives, continuing to make what was once private, public, and vice versa​ (Wikipedia)​.