The artist thoroughly processes the objects, combines them with industrial articles and presents them in the form of artefacts, videos and drawings. Structures with a strong optical and symbolic message are developed in the direction of juxtaposing materials of ambivalent characteristics, e.g. soft–hard, sharp–dull, organic–inorganic, etc., while simultaneously applying also their original nuances of meaning. The scenes of her settings are conceived as psychological and physical spaces reminiscent of offices or waiting rooms. The authoress does not produce beautiful creations that would satisfy the viewer with their aesthetic dimension. Quite to the contrary, her rooms, some kind of Cabinets of Curiosities, are primarily used to evoke conditions that often refer to very subjective experiences or conceptions and, despite humorous additions, bear a sinister connotation. 

Nevo’s project The unofficial office for the removal of rebellious moral issues, opens up issues of human nature and its relationship to the (repressive) authority. These two parameters, as constituent elements of work's ethical status, shift the installation in the realm of human inner experience. The structure is a depiction of mental space, a kind of model of the mind, while the capability of movement within the imaginary fields establishes a question of the viewer's role. 

Lee Nevo creates her works for the sticky matter of the human subconscious, by using ordinary, trivial objects that through processing take on new and unexpected aspects. Her world is the world of The Uncanny, where every recognisable object is transformed, transposed and exaggerated to the point where they start to resonate with our feeling of discomfort. By doing so, she opens the nature of the artist’s work to the field of existential consideration; in her “rooms” intended for both estranged contemporary subject and the isolation of the individual, it is easy to contemplate the pain of existence.