At the Berlin Biennale, curated by Klaus Biesenbach, Hans-Ulrich Obrist and Nancy Spector, Meese met a broad public.

[11] Due to the increased media presence at the Berlin Biennale, Meese's work was also analyzed and commented upon at home and abroad.

The author, Peter Richter, also addressed the spatial aspect by describing the work as a "horror cabinet between porn, Charles Bronson and Slayer".

Often, the central figure of his works is Meese himself: whether in the form of self-portraits or disguised persona, in actions, collages, pictures and drawings.

Recent exhibitions include Thanks, Wally Whyton (Revendaddy Phantomilky on Coconut Islandaddy) at Stuart Shave/Modern Art,[18] in London, and a performance at Tate Modern, entitled Noel Coward Is Back — Dr. Humpty Dumpty vs. Fra No-Finger.

[19][20] He has exhibited at Stuart Shave/Modern Art,[18] London, Galerie Daniel Templon, Paris, and Centro Cultural Andratx, Mallorca.

[2] In 2008 Meese created "Marlene Dietrich in Dr. No's Ludovico-Clinic (Dr. Baby's Erzland)", an immersive multimedia installation within The Watermill Center on Long Island, New York.

[21] The Museum of Contemporary Art (MoCA), North Miami presented in 2014 the first major solo museum exhibition in the United States for Jonathan Meese, which included Meese's paintings that mix personal hieroglyphics and collage, installations, ecstatic performances, and a powerful body of sculptures in a variety of media.

[23] For the Salzburg Festival 2010, Meese created an acclaimed stage design for the world premiere of Wolfgang Rihm's opera Dionysus.

He has worked collaboratively with the painters Jörg Immendorff, Albert Oehlen, Tim Berresheim, Daniel Richter,[30] Tal R, and the composer Karlheinz Essl.