Four decades into her career, the virality of #BarbaraKruger’s work in the wake of Roe v. Wade’s overturning and a dizzying new show at @themuseumofmodernart prove that her bold textual statements have lost none of their power or urgency. One of the most revered artists of her era, Kruger rose to prominence in the ‘80s for her simple yet confrontational collages—word-image combinations overlaid with blunt observations in bold white text on blood-red blocks—that, as she describes, “broadly address what it means to be alive on this planet.” Concise, direct, and unsparing, they expose and interrogate power dynamics and gender injustices. There’s ample meaning to plumb from Kruger’s latest exhibition, “Thinking of You. I Mean Me. I Mean You,” which opened at the @artinstitutechi and @lacma before landing at MoMA through Jan. 2. (Another solo show recently filled up all three of @davidzwirner’s spacious Chelsea locations earlier this summer.) Enveloping the museum’s triple-height Donald and Catherine Marron Family Atrium are her signature statements, rendered dizzyingly in alternating black-and-white capitals that seem to shout messages of doom and cynicism. Among them is a rethink of a Virginia Woolf quote: “Women have served all these centuries as looking-glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size.” Another, taking up the entire floor, comes from George Orwell: “You want a picture of the future, imagine a boot stamping on a human face, forever.” Head to the link in our bio to read more about why Kruger’s work is more relevant than ever. Photography by @emileaskey