By some measures, Barbara Kruger might be the most influential artist working today. Her cliché-eviscerating work has moved as ably as cliché, infiltrating visual culture to an extraordinary degree, with early pieces like Untitled (I shop therefore I am, 1987) and Untitled (Your body is a battleground, 1989) spawning countless imitations and variations. But far from assuming that influence works in one direction, Kruger’s work often acknowledges that she is not only a creator but a consumer, speaking to other consumers who in turn speak to her—even with their knock-off versions of her works. And she knows that artists are perpetually remaking their own work. Her forthcoming survey at the Art Institute of Chicago, Thinking of You. I Mean Me. I Mean You, is especially canny in this way, with five new, large LED displays that revise her early catchphrases. Together, they replace the notion of the “icon” as a static image with something more fluid and alive—something more like a meme. The Art Newspaper: You have called your new show an “anti-retrospective”. What do you mean by that? Barbara Kruger: I don’t really remember saying that because it’s so binary. It’s more that this show is not a gathering together of all of my works. There aren’t that many works where you can put a nail on the wall and hang something. It’s mostly wallpaper and floors, architecturally determined by the space. In Chicago, the show will look totally different than it will when it travels to Lacma [Los Angeles County Museum of Art], which will look different than what I will do in the atrium at MoMA [Museum of Modern Art in New York]. It’s all architecturally defined, and that’s what I love doing.