The works are not about perfect replication or recreating an object with equivalent material value; instead she is more interested in the subjective and historical contexts that imbue the originals with their collective—and in some ways, arbitrary—worth.
According to Artsy,[6] “Her works have inspired by topics spanning a broad chronological and geographical spectrum, including the Egyptian Revolution, Buckminster Fuller’s Geodesic Domes, rare collections in the Metropolitan Museum, and the Trojan Empire.” Similar to her sculptural work, Glynn's installations are composed of found and inexpensive materials and often index elements of political history, such as her installations that appear as public monuments.
She has said of her installations, "Each of these projects reconstructs an epic narrative with 'poor' materials, and allows the audience to navigate through the space and situation through their own lived experience and conversations with fellow participants.
"[7][non-primary source needed] An example of her performative installations includes Black Box a speakeasy and official after-hours location for the Getty's Pacific Standard Time initiative.
Similarly, her installation and pallet pyramid III invited audience participants to nine curated parties and performances that were decorated by Glynn's aesthetic of reconstructed antiquity.