Rowland is noted for their distinct method of loaning some works to collectors and institutions rather than selling them outright, an approach meant to mirror the experience of low-income people shopping at rent-to-own stores like Rent-A-Center and disrupt the traditional value structure in the contemporary art market.

[2] They became known for their conceptual art addressing social injustice in contemporary society[3] and displaying ready-made objects that are obtained through abstruse economic exchanges.

Many of the objects Rowland uses for their artwork derive from online government auctions and scrap yards, from decommissioned municipal buildings and manufacturers of commercial security apparatuses.

These rings, which few would recognize, are one of the major products manufactured via inmate labor in the New York State prison industry, and are indispensable fixtures of urban infrastructure.

In a correspondence between the artist, their dealer, and an anonymous collector, published by Parse, Rowland explained that the rental model echoes the experiences of people shopping at stores like Rent-A-Center, where service fees and inflated prices often cost customers much more than if they had been able to purchase the item upfront.

Rowland purchased four courtroom benches made of oak, a particle board office desk, and seven cast aluminum manhole rings through a partnership with Artists Space.

In Rowland’s essay explaining the work, they explicate how the 13th Amendment made it possible to incarcerate ex-slaves for vagrancy, allowing private companies and later state governments to exploit prisoners’ free labor.

Rowland approaches their role as an artist to be like an investigative reporter,  seeking out intellectual, factual, and material evidence to support their written claims.

HOLC changed into the Federal Housing Administration and guided the Los Angeles CRA to attempt to cover up its violence through artificial acts of community service.

Another work, Assessment (2018), which is a late eighteenth-century grandfather clock from Paul Dalton Plantation in South Carolina, stood at the end of the gallery.