In addition to locating Hill's work "at the crossroads of the mundane and the mystical, where he physical object pulls us into invisible realms," Raphael Rubinstein has remarked upon the "sense of epic labor" accompanying many of her sculptures, as well as how "hers is a hybrid art in its seamless joining of the found and the handmade.
"[14] In the 1980s, art writers discussed Robin Hill's sculptures in the context sculptors such as Tom Butter, Saint Clair Cemin, John Duff, Fortuyn O'Brien, Robert Gober, Steve Keister, Mel Kendrick, and Joel Otterson.
This generation of sculptors were known for conveying content from "gentle craft substances: fiberglass, beeswax, veneered wood, string, paper, pigment and fabric.
In Michael Brenson's 1986 New York Times art review, he describes her work At Arm's Length as suggesting "hills, bones, and cliffs, but it can also bring to mind the characteristic body shift of Greek and Renaissance standing figures.
[25] After a 2013 summer residency at the Sanskritti Foundation in New Delhi, Hill made 300 rubbings of the same 1960s Eastman Kodak slide carousel, which she mounted on the walls, partly overlapping one another.
"[28][29] In 2001, she exhibited Sweet Everyday, a 100-foot long cyanotype enwrapping Lennon, Weinberg, Inc.'s Soho gallery in a David Reed-like wavy brushstroke, created by placing ordinary shopping bags on photo-sensitive paper exposed to light.
Hill elaborates, "The immediacy of this process serves as a counterpoint to the more deliberate and labor-intensive tasks of building sculptural forms, whose invisible dimensions are revealed in the after images of their companion cyanotypes.