In the 2000s and 2010s, John Chamberlain continued to explore and expand the boundaries of sculpture, particularly with his work in painted and chrome-plated steel. His exhibitions during this period showcased a range of large-scale sculptures that played with form, color, and material, underscoring his position as a master of post-war American art.

From 2011, at exhibitions like "New Sculpture" at Gagosian in New York and London, Chamberlain presented works like "TAMBOURINEFRAPPE" (2010), "WITCHESOASIS" (2011), and "SUPERJUKE" (2011). These sculptures, made from painted and chrome-plated steel, exhibit his continued fascination with the aesthetics of crushed and manipulated car parts, blending industrial detritus with formal beauty. The use of chrome plating adds a layer of reflectivity and shine that plays off the inherent physicality and roughness of the crumpled metal, creating a dynamic interplay between the materials' original utilitarian purpose and their new life as art​ (Gagosian)​.

An exhibition titled "ENTIRELYFEARLESS" in 2018 at Gagosian, London, further highlighted Chamberlain's artistic evolution with works like "ENTIRELYFEARLESS" (2009) and "MURMUR" (2002). These pieces illustrated his adeptness at manipulating metal to yield forms that are at once chaotic and controlled, vibrant and expressive. His sculptures from this era are characterized by their exploration of resistance offered by car metal, allowing Chamberlain to achieve a balance between over-forming and underforming his materials. This exhibition reflected on Chamberlain's career-long exploration of shape and color, with works ranging from robust, doming forms to more intricate, nest-like structures​ (Gagosian)​.

A posthumous survey at the Solomon R. Guggenheim Museum in 2013 encapsulated Chamberlain's career, showcasing his crumpled steel and crushed metal sculptures that have been a significant part of his oeuvre for over 40 years. Chamberlain's unique approach to sculpture, often compared to the gestural painting of Abstract Expressionists like de Kooning, has been praised for its original use of color and form. His sculptures from the 2000s and 2010s continue to demonstrate this, with works like "SPHINXGRIN TWO" (2010), an aluminum piece that embodies the evolution of his sculptural language over the decades​ (Sculpture)​.

Through these later works, John Chamberlain solidified his legacy as an innovator who constantly redefined the possibilities of sculpture. His ability to transform industrial materials into objects of beauty and intrigue speaks to a career characterized by relentless experimentation and a deep understanding of materiality.