Holzer initially explored abstract painting during her studies at Ohio University and the Rhode Island School of Design before moving to New York City in 1977. That same year she was accepted into the Whitney Museum of American Art’s Independent Study Program, where her interest in social and cultural theory culminated in the Truisms series (1977–79). The works, composed of seemingly familiar slogans such as “Abuse of power comes as no surprise,” were originally presented by Holzer as phrases on anonymous posters and were later presented on T-shirts, billboards, and electronic signs. These texts, fraught with cynicism and political implications, were followed by the more structured and complex Inflammatory Essays (1979–82), Living series (1981–82), and Survival series (1983–85), which were seamlessly integrated into various urban landscapes as plaques and signs. The text-based art of Jenny Holzer appears in places one wouldn’t expect to find it. On t-shirts, billboards, parking meters and LED signs (Holzer’s signature medium), her stark one-liners call attention to social injustice and shed light on dark corners of the human psyche. “PRIVATE PROPERTY CREATED CRIME,” “ABUSE OF POWER COMES AS NO SURPRISE,” and “PROTECT ME FROM WHAT I WANT” are intended to generate debate and make us think critically. A political activist as well as an artist, Holzer’s aim is to disrupt the passive reception of information from damaging sources. As her reputation has grown, so has the ambition and scope of her work, which has traveled to public spaces in much of the world. In her profound skepticism toward power, Holzer joins the ranks of anti-authoritarians in art from the birth of modernism (which is itself a rebellion against tradition) through the 21^st century.