Wilson creates sculpture, drawings, Internet projects, photography, performance, and DVD stop motion animations employing table linens, bed sheets, human hair, lace, thread and wire.

Subsequently, Wilson's graduate research focused on temporary textile architecture such as the Zulu indlu and the Sub-Saharan African black tent.

For Wilson these interests intersected with the popular concerns of generative systems, such as the methods being pioneered by artist Buckminster Fuller.

[6] During this time, Wilson was also influenced by the international art fabric movement, including artists such as Magdalena Abakanowicz, Ritzi and Peter Jacobi, Olga de Amaral, and Ed Rossbach.

During the 1970s while living in Berkeley, California, Wilson argued for the contemporary relevance of fiber and textile processes alongside more conventional fine art materials and techniques.

Local Industry, a central component of the exhibition Anne Wilson: Wind/Rewind/Weave, was a site-specific installation as a collaborative "textile factory".

Wilson conceived of Wind/Rewind/Weave as a meditation on labor, acknowledging the specific geographic location of the Knoxville Museum of Art in the historical heartland of both hand weaving traditions and textile mill production in the United States.

New works were included in her solo exhibition, Dispersions, at the Rhona Hoffman Gallery in 2013, and Fiber: Sculpture 1960-Present originating at the ICA Boston in 2014.