In 2001, Wallinger was honored with the DAAD Artists-in-Berlin Program, one of the world's most respected artist-in-residence programmes for established artists working in the fine arts, film, literature and music.

[11][12] In 2019, Writ in Water, a major architectural artwork by Mark Wallinger, in collaboration with Studio Octopi, for the National Trust at Runnymede, Surrey, was shortlisted for the Stirling Prize.

[13][14] Mark Wallinger was awarded the 2007 Turner Prize for State Britain, a direct meticulous replica and reconstruction of Brian Haw’s protest peace camp outside the Houses of Parliament against policies towards Iraq.

He also put a black line on the floor of the Tate and through the middle of his exhibit to mark part of a 1 kilometre exclusion zone from Parliament Square.

[16] The jury applauded the work for its “immediacy, visceral intensity and historic importance” integrating “a bold political statement with art’s ability to articulate fundamental human truths”.

In addition to Angel (1997), Threshold to the Kingdom (2000), Life Class (2001), Ghost (2001), and Time and Relative Dimensions in Space (2001), the sculpture Ecce Homo (1999-2000), first presented on the Fourth Plinth in Trafalgar Square, in 2000, welcomed visitors into the main gallery.

It consisted of a negative reproduction image in a lightbox showing the famous 18th-century oil painting, Whistlejacket (c.1762) by George Stubbs, but altered by adding a horn on its head, thus turning it into a unicorn.

[23] Wallinger's later work appears to have largely turned away from his earlier preoccupations, instead apparently focusing on religion and death and the influence of William Blake.

This piece is in two parts – on the outside, in a dark corridor, is a video of Wallinger (or rather his alter-ego, "Blind Faith") sitting in an electric chair and singing Ariel's song from William Shakespeare's The Tempest.

On two facing walls are large photos of fists with the words "LOVE" and "HATE" written on them, a reference to the preacher played by Robert Mitchum in the film, The Night of the Hunter, who had similar tattoos on his knuckles.

Wallinger's design is of a giant white horse modelled on another of his own racehorses, 'Riviera Red',[disputed – discuss] and has been described by his supporters as "an absolutely mesmerising conflation of old England and new, of the semi-mythical, Tolkienesque past and the six-lanes, all-crawling present".

[26] In April 2011, it was announced that Mark Wallinger would be one of three artists (along with Chris Ofili and Conrad Shawcross) to collaborate with the Royal Ballet and the National Gallery to create a piece based on works by the Renaissance painter Titian.

[30] After dueling protests[31][32] by students from both the PRC and ROC and reactions by third party observers (which included the President of Taiwan,[33] Taiwanese Ministry of Foreign Affairs[34] and the co-chairs of the British-Taiwanese All-Party Parliamentary Group in the House of Commons[35]) the university decided later that year that it would retain the original design which chromatically displayed the PRC and ROC as different entities but with the addition of an asterisk beside the name of Taiwan and a corresponding placard that clarified the institution's position regarding the controversy.

[36][37][38][39] In October 2019, Wallinger featured in a group show at Tension Fine Art alongside artists Julian Lowe and Stuart Elliot.