Lucas frequently appropriates masculine constructions to confront and dissect their nature. Her pieces represent a fantastical world and playfully employs unrealistic ideals to unearth obscene paradoxes created by those very constructions. Specifically, she is concerned with the casual misogyny of everyday life and employs the conventions of middle class or ‘street’ language to enact her concepts. Her appropriation of masculine symbols such as the phallic banana or ‘fried eggs’ in conjunction with her fearless and dominating gaze, takes ‘female work’ out of the feminine sphere and disrupts the patriarchal power dynamic of the gaze. Works such as "The old in Out" (1988) is a reference to Marcel Duchamp’s "Fountain" (1917) and "Two Fried Eggs and Kebab" (1992) has been linked to Édouard Manet ’s "Olympia" (1863). While Lucas continues the artistic legacy of feminist artists such as Hannah Wilke, Cindy Sherman, and Rachel Whiteread, her visual language empties femininity of meaning and thus removes her from such a clear ‘feminist art’ title.