[citation needed] The use of Linear Elamite continued after 2100 BCE, and the death of King Puzur-Shushinak, last ruler of the Awan Dynasty in Susa.

They are engraved on large stone sculptures, including an alabaster statue of a goddess identified as Narundi (I), the Table au Lion (A), and large votive boulders (B, D), as well as on a series of steps (F, G, H, U) from a monumental stone stairway, where they possibly alternated with steps bearing texts with Akkadian titles of Puzur-Shushinak.

A unique find is item Q, a silver vase found 1.5 kilometers northwest of Persepolis, with a single line of perfectly executed text, kept in the Tehran Museum.

The bilingual and bigraphic inscriptions of the monumental stairway as a whole, and the votive boulder B have inspired the first attempts at decipherment of Linear Elamite (Bork, 1905, 1924; Frank, 1912).

[23] The first readings were determined by the analysis of the bilingual cuneiform Akkadian-Linear Elamite Table au Lion (Louvre Museum), by Bork (1905) and Frank (1912).

[23] This permitted a fairly certain determination of about ten signs of Linear Elamite:[23] Further efforts were made, but without significant success.

[23] Additional readings were proposed by CNRS associate researcher François Desset in 2018, based on his analysis of several silver beakers that were held in a private collection, and only came to light in 2004.

Desset identified repetitive sign sequences in the beginning of the inscriptions, and guessed they were names of kings, in a manner somewhat similar to Grotefend's decipherment of Old Persian cuneiform in 1802–1815.

New readings include: In 2009, the archaeologist Jacob L. Dahl, who researches the decipherment of Proto-Elamite, argued that Linear Elamite was a limited-use writing system with few practitioners and that its signary lacked standardisation.

[29] In 2022, Desset et al. (2022) argued that Linear Elamite is an alpha-syllabary, which would make it the oldest known purely phonographic writing system.

[3][31] An early inventory of Linear Elamite by Carl Frank [de], published in 1912, listed 64 distinct signs, noting some allographic variations.

Dahl argues that similarities with Linear Elamite are better explained by imitation of the most frequent Proto-Elamite signs from objects recovered at Susa by Elamite scribes familiar with Old Akkadian cuneiform who, faced with Mesopotamian cultural expansion, sought, in a process of schismogenesis, to culturally differentiate themselves by borrowing from an ancient local writing system, namely Proto-Elamite, to provide the basis for an archaicising new script.

This, he argues, better explains the unusual content of some texts, such as "O" and "M", inconsistency in the form and execution of signs, and apparent resistance to trends of simplification that would otherwise be expected from scripts used administrative settings, as was the case with Proto-Elamite.

[35] During a 2-year research program at ANRT (Atelier National de Recherche Typographique), Sina Fakour designed a computer font for Linear Elamite based on the analysis of inscriptions on various materials.