In the 2010s, Rudolf Stingel continued to explore the boundaries of painting, combining conceptual rigor with material experimentation. His work in this decade is marked by a mix of photorealism, abstraction, and site-specific installations, demonstrating a profound engagement with the medium's history and its potential for evoking memory and emotion. One of Stingel's significant contributions during this period was his exploration of landscape themes, notably through large-scale paintings based on photographs. For instance, a monumental mountain range painted in 2009, devoid of human presence, reflects a stark, almost sublime interpretation of nature, challenging traditional notions of the Romantic sublime with a modern twist. This work not only showcases Stingel's technical mastery in reproducing the granular quality of a photograph in paint but also invokes a sense of nostalgia and autobiography, connecting to his childhood in the Tyrolean Alps​ (Sothebys.com)​. Stingel's exhibitions throughout the 2010s, such as at the Fondation Beyeler and Palazzo Grassi, further cemented his reputation as a leading figure in contemporary art. These shows featured new paintings, including site-specific works that continued his exploration of carpets and insulation panels as mediums for his artistic inquiry. His collaboration with curator Udo Kittelmann for the Fondation Beyeler exhibition highlighted new and existing works, underscoring Stingel's ongoing interest in the interplay between abstract and photorealist painting, as well as his use of diverse materials from Styrofoam to cast metal​ (Beyeler Art)​. Throughout the decade, Stingel remained dedicated to questioning the nature of painting and its reception, blurring the lines between artist, artwork, and audience. His work from this period underscores a deep reflection on memory, time, and the act of creation, maintaining his position as a critical and influential figure in the contemporary art world​ (Wikipedia)​.