Barbara Kruger's work directly engages viewers with its bold, declarative statements and strategic use of pronouns like "I," "You," and "We." Her art prompts us to question mainstream media and the messages that shape our identities and society. Kruger’s practice, spanning over four decades, merges seductive visual elements with a critical perspective, compelling viewers to scrutinize the visual signifiers of faith, morality, and power.

Kruger, born in 1945 in Newark, New Jersey, was significantly influenced by the advertising boom of her youth. Her early training at Syracuse University and Parsons School of Design, coupled with her experience as a graphic designer and picture editor at Condè Nast Publications, deeply informed her artistic approach. This background provided her with a keen understanding of the cultural impact of images, which she leverages in her art to critique and analyze mass-media culture.

Central to Kruger’s work is her use of Futura Bold Oblique and Helvetica Ultra Compressed typesets, which she employs to mimic the graphic strategies of advertisements. This choice is evident in works like "Untitled (You Invest in the Divinity of the Masterpiece)" (1982), where she juxtaposes Michelangelo’s Sistine Chapel with accusatory slogans, questioning our complicity in upholding institutional power. Her art frequently tackles themes of feminism, consumerism, and individual autonomy, urging viewers to reflect on their roles within these power structures.

A notable example of Kruger’s provocative style is her 1989 piece "Untitled (Your body is a battleground)," created for the Women’s March on Washington. This work, featuring the phrase “Your body is a battleground” over a split image of a woman’s face, addresses reproductive rights and highlights her commitment to social justice. Kruger’s ability to repurpose mainstream media images to critique the very ideas they promote exemplifies her skill in engaging viewers in a dialogue about power and control.

Kruger’s art often extends beyond traditional gallery spaces into public arenas. Her "Untitled" matchbook series from 1986, for instance, distributed provocative messages on everyday objects, emphasizing how power dynamics infiltrate daily life. By placing her art in public spaces, she makes her critical messages accessible to a broader audience, challenging viewers to recognize the pervasive nature of societal control.

Kruger’s immersive installations further amplify her critical messages. From her 1991 exhibition at Mary Boone Gallery to her planned 2022 installation at MoMA, her site-specific works envelop viewers in provocative text and images, creating environments that challenge them to reconsider their perceptions. By transforming spaces with her art, Kruger underscores how physical environments shape our experiences and beliefs, urging viewers to critically engage with the world around them.

Throughout her career, Barbara Kruger has consistently used the visual language of commercial advertising to critique societal norms and power structures. Her work blurs the lines between art, product, and ideology, compelling viewers to question the narratives constructed by mass media. By implicating the viewer in her critiques, Kruger reveals the complex interplay between power, identity, and society, making her art a powerful tool for social commentary.