[11][12] In her early photography series Outside (1990–1991), "for two years [Rovner] photographed a Bedouin hut in the Israeli desert, then retouched each photo in order to create a spectral, shifting image of the modest structure isolated in an inhospitable setting.

"[13] For the Decoy series (1991), she distorted radar and surveillance images to create photographs of indistinct groups of people with blurred features.

In 1996, Rovner began to use film and video, creating works featuring anonymous crowds of people or animals, as in Monoprints of Birds (1998).

While she has eschewed direct political commentary in her work, in 1995–96 she produced installations for the Israel-Lebanon border that were situated on electric fences and guard towers in the line of ongoing exchanges of fire.

Time Left (2002), a multichannel-video installation comprising images of endless rows of indistinct beings, was the centerpiece of her mid-career retrospective at the Whitney Museum of American Art in New York in 2002.

Her use of fine materials tools makes it look like the smoothest of marble or the supplest of paints..."[14][15] In the film Fields of Fire (2005), Rovner's images of oilfields in the Republic of Kazakhstan reflect the persistent instability of a region at the epicenter of international scrutiny.

[19] Her 2016 series Night takes a step back from some of these social questions and "explores the troubling presence of jackals around her house, a metaphor for the primitive and impenetrable that lies within each of us.