I Shop, Therefore I Am: Barbara Kruger’s Social Commentary

Kruger’s I Shop, Therefore I Am is a brilliant reinterpretation of René Descartes’ philosophical assertion, “I think, therefore I am”, serving as a critique of the commodification of identity within contemporary society. The substitution suggests that in a capitalist society, self-worth is often measured not by personal character, but by purchasing power and consumer behaviour. Kruger’s work invites us to consider how consumer culture encourages people to define themselves by what they buy, suggesting that shopping has evolved into a dominant form of self-definition.

Kruger’s signature monochrome imagery, overlaid with bold red and white text, evokes the slick, impersonal gloss of commercial advertising. The stark, monochromatic photograph depicting a hand holding a shopping bag, coupled with the declarative text in her iconic Futura typeface, is weaponised here to undermine its original purpose. Instead of promoting consumption, by appropriating the language and style of advertising, Kruger compels the viewer to recognise and question the extent to which consumerism has infiltrated our identities.

Kruger’s critique of consumerism is deeply intertwined with feminist concerns, particularly the gendered nature of advertising. I Shop, Therefore I Am is not only a commentary on consumer identity, but also an indictment of how women are targeted by and represented within consumer culture. Throughout her body of work, Kruger explores how advertising and mass media commodify women’s bodies, reducing them to objects of desire and consumption. In I Shop, Therefore I Am, the female figure becomes emblematic of a broader societal trend in which women’s value is measured by their appearance, possessions, and conformity to societal standards of beauty and femininity.

Kruger’s feminist commentary extends beyond consumerism, and her Your Body is a Battleground (1989) is particularly resonant when considered within the broader context of women’s reproductive rights, especially in the context of landmark legal battles such as Roe v. Wade. Created for the 2017 Women's March on Washington in support of abortion rights, this work exemplifies Kruger’s ability to harness the visual strategies of mass media to make powerful, politically charged statements. The image, a split face of a woman, with one side in positive and the other in negative, symbolises the polarisation women face regarding their bodies. The text boldly proclaims the personal as political, suggesting that control over one’s body is not merely a private issue, but a battleground for larger ideological and political forces.

Furthermore, Untitled (Your Gaze Hits the Side of My Face) (1981) offers a similarly pointed critique. By using the language of assertiveness and resistance, Kruger speaks to the long history of silencing women, particularly in conversations about their own bodies and autonomy. This piece connects the fight for reproductive rights with broader feminist struggles, emphasising the importance of visibility, voice, and agency in a patriarchal society that has historically marginalised women’s perspectives. The direct, unapologetic message of “we will no longer be seen and not heard” reflects a shift in feminist activism, from passive endurance to active resistance, encapsulating the frustration and determination of women fighting for equality in the face of systemic oppression. Kruger’s use of visual and verbal confrontation is significant within the framework of postmodern art, which often aims to disrupt and challenge dominant narratives. By employing advertising’s bold, attention-grabbing aesthetics, she draws in her audience, only to subvert their expectations with sharp political critiques. Kruger’s work, in this regard, is not simply a commentary on consumerism, but a direct engagement with the politics of autonomy and control.

The relevance of Kruger’s reproductive rights works has only intensified in the wake of recent political developments, particularly the 2022 Dobbs v. Jackson Women’s Health Organization decision, which effectively overturned Roe v. Wade. This legal shift marked a monumental setback for abortion rights in the U.S., triggering a new wave of activism and backlash. In light of these changes, Kruger’s works like Your Body is a Battleground resonate with renewed urgency. The visual metaphor of the body as contested territory feels even more prescient, as many states have enacted restrictive laws that severely limit access to abortion, disproportionately affecting marginalised communities. Kruger’s ability to connect the personal with the political ensures that her art remains a powerful tool for social critique. In an era of escalating legal and political battles over women’s rights, Kruger’s art not only reflects the cultural and political moment, but also serves as a rallying cry, reminding us that the battles fought on and over women’s bodies are far from over.