[7]: 189  In an interview Lynn discussed how during World War II she had seen both her parents working in jobs, raising their children and sharing family chores.

[7]: 189 Lynn worked across a wide range of media, including collages, drawings, paintings, prints, books, sculptures, photographs and installations.

Art historian Priscilla Pitts notes that 'Lynn frequently sought equivalents or proxies for the female body, and this led to a particularly inventive use of materials'.

[14] In Guarden Gates, in one work, she set up a frisson by including a small amount of processed animal tissue as a metaphor for the human body.

The artist said that the columns were, amongst other things, 'a metaphor for vulnerability, sensitivity, and how one toughens up as one gets older ... Lamella/Lamina reflects the layering and interconnectedness, of nature and culture, of skin surface, mind and the political.

By recovering destroyed and damaged tapa, drawing attention to the low status (craft) assigned to women's production and by analogy to reproduction Lynn creates a work of simple beauty.

In 1997 her large installation, showing nine images of her brain, titled Spin: versor versa was shown at City Gallery, Wellington.