Haacke had a solo exhibition at the Museum of Modern Art in Oxford, England, that included the new work A Breed Apart, which made explicit criticism of the state-owned British Leyland for exporting vehicles for police and military use to apartheid South Africa. His 1979 solo exhibition at Chicago's Renaissance Society featured paintings that reproduced and altered print ads for Mobil, Allied Chemical, and Tiffany & Co. 1980s With extensive research Haacke continued throughout the 1980s to target corporations and museums in his work through larger scale installations and paintings. In 1982, at the documenta 7 exhibition, Haacke exhibited a very large work that included oil portraits of Ronald Reagan and Margaret Thatcher in 19th-century style, facing on the opposite wall a gigantic photograph of the demonstration against nuclear arms held earlier that year—the largest demonstration in Germany since the end of the Second World War. The clear implication, supported by Haacke's remarks, was that these two figures were attempting to roll back their respective nations to the socially and politically regressive, laissez-faire, and imperialist policies of the 19th century. In 1988 he was given an exhibition at the Tate Gallery in London at which he exhibited the portrait of Margaret Thatcher, full of iconographic references featuring cameos of Maurice and Charles Saatchi. The Saatchis were well known not only as art collectors on an aggressive scale, widely affecting the course of the art world by their choices, but also as the managers of Thatcher's successful, fear-based political campaigns as well as that of the South African premier, P. W. Botha. 1990s Haacke's controversial 1990 painting Cowboy with Cigarette turned Picasso's Man with a Hat (1912–13) into a cigarette advertisement. The work was a reaction to the Phillip Morris company's sponsorship of a 1989–90 exhibition about Cubism at the Museum of Modern Art. Haacke has had solo exhibitions since, at the New Museum of Contemporary Art, New York; the Van Abbemuseum, Eindhoven; and the Centre Georges Pompidou, Paris. In 1993, Haacke shared, with Nam June Paik, the Golden Lion for the German Pavilion at the Venice Biennale. Haacke's installation Germania made explicit reference to the pavilion's roots in the politics of Nazi Germany. Haacke tore up the floor of the German pavilion as Hitler once had done. In 1993, looking through the doors of the pavilion, past the broken floor, the viewer witnesses the word on the wall: "Germania", Hitler's