After graduating from the Technical University in the summer of 1968, she went to West Germany and worked for a year at the Gottfried Böhm Architecture Department (Lehrstuhl für Werklehre, Die RWTH) in Aachen.

[5][6] Her works have been purchased by major international collections in the US, Europe, Japan and Australia, and in 1993 she was one of seven artists worldwide invited to create a monumental Theatrum mundi in a 10 × 10 × 10 m space for one of the atria of the new glass museum building in Corning, New York.

[24] Until the mid-1980s, she made mostly small spatial paintings enclosed in boxes, with intricately coded scenes of model stories (Theatre, 1980, Mechanical Man, 1981, Two Cats, 1984,[2] Levitation, 1985).

Later, she gradually enlarged the formats of her drawings, which were given socially critical meanings, letting them move freely from framing into space and often supplementing them with real objects,[9] which leave it up to the observer to determine where reality begins and ends.

[23] Dana Zámečníková's dominant artistic technique is cut flat and laid glass or plexiglass,[27] cold decorated with painting,[28] enamels, silkscreen, sandblasting or etching,[29][30] which she combines in multi-layered spatial plans and installations.

[32] Some of the things Dana Zámečníková evokes in her work are reminiscent of circuses, fairy tales, theatre, diaries, infinity, magic,[33] or, as in Venice, of overseas voyages, glitz, misery, the swarming of human beings, luxury and poverty.

Her drawings depict colourful, defiant courtesans in high boots, Jews with yellow caps, woven pillows, strange tassels and, proverbially, the smell of canals.

[34] Her installations consist of glass panes of unequal shape, size and inclination arranged in space, on which colourful drawings and paintings are recorded as fragments of experiences, ideas and impressions.