It is largely post-minimal in character and described by commentators as providing a feminist counterpoint to the male-dominated, minimalist sculpture of the 1960s, as well as to cultural tropes involving bodies that the works themselves invoke.

[8][9][10][11] Of particular note are Davidson's use of humor and a sense of absurdity to seemingly both celebrate and subvert these tropes, inviting their investigation but without the seriousness and moralism that often accompany critical works.

Davidson’s work has also been covered in the New York Times, Artforum, Art in America and Der Spiegel, among other publications, and recognized with a Guggenheim Fellowship,[16] Pollock-Krasner and Creative Capital grants,[17][18] and an Anonymous Was a Woman Award,[19] among others.

[12] Davidson's sculpture is said to draw on work by sculptors Donald Judd and Eva Hesse[9][10] and she has cited them as influences,[35] together with literary figures Mikhail Bakhtin and Jeanette Winterson.

[3][41] The subject matter and materials used—together with the size and minimal character of the pieces—have led commentators to describe Davidson's work as a markedly feminist response to the masculine, minimalist sculpture of the 1960s.

"[33] Brightly colored, large, and bearing references to pop-culture icons like Elvis Presley and Mae West,[8][10] the sculptures appear to celebrate the exaggerated forms of culturally idealized bodies while simultaneously undermining the forces behind them.

[35] Davidson's work spans multiple art disciplines but she is best known for large, inflatable abstract sculptures that erotically reference the human female form.

[1][45] Fashioned from latex weather balloons,[42] the works have a bulbous, fleshy appearance and are seen as hyper-feminized abstractions of erogenous body parts—a visual interpretation reinforced by Davidson's use of fishnet lace, rope, and other culturally eroticized textiles to adorn, constrict and shape the tautly inflated forms.

[32][46][45] One early configuration involved constricting single balloons with a corset and featured bifurcated bulges on both top and bottom, mimicking the curves of buttocks and breasts.

[15][47] Blue Moon (1998) was included in the group show, "Sculpture-Figure-Woman" (Landesgalerie, 1998) which originated in Linz, Austria and travelled to Chemnitz, Germany; the piece was subsequently featured in Der Spiegel magazine.

[10][50] Hang 'Em High (1999), was nearly twenty feet square and featured side-by-side red spheres veiled by netting and hung by a rope, which also bound the piece vertically at the center.

The Corcoran Gallery commissioned Davidson in 2002 to create a piece for its 47th Biennial, and she produced Double Exposure, a 34-foot by 20-foot-square nylon work that filled one side of the museum's atrium.

[35][15] Echoing her latex piece Hang 'Em High, the installation featured an anthropomorphic red double-sphere, viewable from both above and below and suspended from the center by a thick blue rope.

[15][8] In 2020, Davidson collaborated with Lakshmi Ramgopal to create the exhibition "Hive" at the Krannert Art Museum, a year-long, immersive installation that includes sculpture, sound and light.

[36][41] Two eighteen-foot-high Davidson sculptures fill the glass-enclosed entrance to the Krannert's Kinkead Pavilion, while a soundscape created by Ramgopal projects abstract vocalizations of breath, including inhales, sighs and hums.