2000s, Cooper expanded her practice to include furniture-like sculptures and full installations that increasingly colonized their exhibition spaces. Speedway (2000–3) was a freestanding, De Stijl-styled foamcore structure, consisting on one side of a cutaway that Nancy Princenthal described as "a Las Vegas marquee of pulsing concentric and parallel lines, punctuated by seedily alluring little niches," and on the other, a dollhouse-like grid of cubbyholes, suggesting a Mondrian/Donald Judd-influenced "mini-museum." The mutating, increasingly elaborate installation Orange Alert UK (2003-8) employed taut linear arrangements of vivid reds, oranges and yellows, initially inspired by the color-coded, post-9/11 terrorist alert system, which formed cardiograph-like wall patterns and radiated from a central, spider-like form. Photo-derived work Digital photography and themes involving the built environment play a greater role in Cooper's later work, which has employed fewer elements and sometimes taken on a frieze-like appearance (e.g., the illusionistic wall-piece, Undercover, 2010–3). She uses photography to create sketchbook-like collections of abstract forms taken from everyday experience—details of airport tarmacs, subway seats, grass, refuse, construction fencing, or gallery architecture—which she re-presents out of context, revealing neglected qualities of beauty and strangeness or to create hyperreal spatial illusions (e.g., Skylight I, 2012–3). Jerry Saltz described her 2013 show, "My Eye Travels," as "a florid blaze of color, pattern, abstraction, and images of bits of the world," composed almost entirely of photographs "assembled into fragmenting mandalas of contemporary energy." Several later exhibitions feature more self-contained pieces, sometimes working in relation to one another. The installation The Wall (2018) presented several dozen, disparate smaller works hung salon-style, which together functioned like a diaristic, graphic index of Cooper's concerns. "Sightings" (2019) consisted of more autonomous works and closed compositions that referenced and framed distinct, bound systems of urban structure, electronics and technology in order to encourage new ways of seeing (e.g., Slide Rule or Family Safe). Public art commissions Cooper has received three public art commissions. Her first was the permanent, site-specific work, Out of the Corner of My Eye (2008–9, commissioned by NYC Cultural Affairs Percent for Art) for the Jerome Parker Campus in Staten Island. Situated along a slow-curving, 107-foot-long wall in an Ennead Architects-designed building, the work employed more durable materials than past work—glass (inserted into pre-existing windows), fiberboard, metal hardware, and acrylic paint—and received an Americans for the Arts public art award. For HighWire (2016, Moss Arts Center), Cooper developed her concept and imagery digitally, combining scans of