In the 1990s, Martin Kippenberger's art remained as provocative and boundary-pushing as ever, reflecting his deep engagement with personal identity, societal norms, and the nature of art itself. This period is characterized by several significant projects and series that underscored Kippenberger's role as a critical and self-reflective figure within the art world. The decade saw the initiation of the Latex or Rubber paintings in 1990, a series that showcased Kippenberger's interest in material experimentation and conceptual art. This work, initiated during a sojourn in New York City, underscored his penchant for exploring the physicality of art-making and its conceptual underpinnings​ (Wikipedia)​. Perhaps one of the most ambitious projects undertaken by Kippenberger during the 1990s was the Metro-Net World Connection series. This project imagined a global underground network, with fabricated subway entrances appearing in unexpected locales around the world, from the Greek island of Syros to Dawson City, Canada. This endeavor, blending installation art with conceptual fiction, spoke to Kippenberger's fascination with connectivity, globalization, and the intersections between reality and artifice​ (Wikipedia)​. "The Happy End of Franz Kafka’s ‘Amerika’" (1994) stands out as a landmark installation, drawing upon Kafka’s narrative to create an immersive environment suggestive of a fictional job fair. This work utilized an array of objects and furniture to evoke a space of potential employment, interweaving literary inspiration with social commentary. Through this installation, Kippenberger delved into themes of utopia, bureaucracy, and the absurdity of societal structures​ (Wikipedia)​. During this period, Kippenberger also produced an extensive series of "hotel drawings," utilizing stationery from hotels around the world as his canvas. These drawings, ranging from thematic series to spontaneous sketches, offered insight into Kippenberger's travels, thoughts, and artistic preoccupations. This body of work reflects the artist's nomadic lifestyle and his interest in capturing fleeting moments and ideas​ (Wikipedia)​. Kippenberger’s work in the 1990s continued to challenge and interrogate the art world, blending irony with earnest inquiry. Through his diverse body of work—encompassing painting, sculpture, installation, and drawing—he explored the complexities of identity, the dynamics of cultural production, and the porous boundaries between life and art. Kippenberger’s legacy from this decade is marked by his unwavering commitment to questioning and expanding the possibilities of contemporary art​ (DW)​.