In one part of the installation, she arranged her silver, copper, brass, and steel abstracted human figures on spinning metal disks which were lit by strobe lights.
These figures were described by art critic David Bonetti as "miniature grandchildren of Bauhaus master Oskar Schlemmer's mechano-morphic sculptures.”[14] Her theatrical scene was enhanced by raucous carnival music, creating what Bonetti described as a "visual and aural three-ring circus that scares and delights equally.”[14] Another of her zoetropic installations, ‘People Doing Things, Shiny Objects, Great Color, Occasional Music', was included in the Bellevue Arts Museum's Pacific Northwest Annual in 2000.
Baker noted, "The installation of three zoetropes featured ear-flapping, trunk-waving elephants slowly circling stainless-steel Ferris wheels and merry-go-rounds—the flashing strobe lights and minor-key music leavened big-eyed cuteness with glitzy dystopia.”[17][18] Mass-produced plush mechanical toys also served as the inspiration and original form for the kinetic sculptures McClure included in ‘Remains', her exhibition at New York's Moss Gallery in 2009.
"It's like uncovering an object that wasn't intended to be seen in the first place, that has a beautiful design.”[21][22] The sculptures' metal finishes make evident McClure's background in and appreciation for metalsmithing processes.
[24] Titled ‘Midway', a reference to the traveling carnivals she attended as a child, it included music, whirling lights, futuristic, mechanized toys, a 10' Ferris wheel, and working carousel.
[25] Her ‘Bots' featured in the exhibition included mechanical ‘Elmo' and ‘Mickey Mouse' toys "stripped of their commercial identities” and reconfigured by the artist to engage in repetitive motions, which "conjure dreamy cinematic operations and allude to a modern life characterized by escapism, frenzy and consumption.
"[26] Curator Nora Atkinson remarked, "Midway evokes a fusion of adult and childhood fantasy with somber undertones as though the artist's creatures have run too long unchecked.
[28] McClure sources the majority of the toys she uses for her sculptures from thrift stores, which has made her acutely aware of the abundance of cast-off and discarded products which may eventually end up in landfills.
Flock writes of McClure's ‘Bots', "It's hard to believe that we live in the best of all possible worlds when there is demand for cheap thrills whose plastic corpses will be polluting the oceans long after we're dead.