Dana Schutz's work has been featured in many public collections. In New York, her art may be viewed at the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American^[1] Art. Other American museums include the Yale University Art Gallery (New Haven), the Philadelphia Museum of Art, the Carnegie Museum of Art (Pittsburgh), the Hirshhorn Museum and Sculpture Garden (Washington DC), the National Gallery of Art (Washington DC), the National Museum of American Art (Washington DC), and the Los Angeles County Museum of Art. In Europe, Schutz's art may be viewed at the Staatliche Museen zu Berlin, the Kupferstichkabinett (Berlin), the Herzog Anton Ulrich-Museum (Braunschweig), the Galleria degli Uffizi (Florence), the Städel Museum (Frankfurt am Main), the Musée du Louvre (Paris), and the Kunsthistorisches Museum (Vienna), among others. Museums with her work are located in Sydney, Brussels, Toronto and Prague.

Dana Schutz is an American^[1] artist known for paintings and prints that explore narrative and figuration. Her prints often share themes with her paintings, such as imagined scenarios and distorted perspectives. When considering Schutz's prints, it is helpful to understand the concept of the "original print". According to the Professional Art Dealers Association of Canada (PADAC), an original print is conceived by the artist as a print and executed solely as a print, usually in a numbered edition, and signed. Each print in the edition is an original, created from a plate, stone, screen, block or other matrix. The artist decides the number of prints in the edition. When approaching a publisher, an artist should send a query letter, a short biography, a list of galleries that represent their work, and five to ten samples in JPEG, TIFF, or slide format. If creating a limited edition, all prints should be numbered (for example, 35/100). The largest number is the total number of prints in the edition; the smaller number is the sequential number of the actual print. Some artists hold out ten percent as artist’s proofs and number them separately with AP after the number (e.g., 5/100 AP). Many artists sign and number their prints in pencil.

Dana Schutz's art is important because it engages with contemporary social and political issues. Since the 1980s, many artists have focused on the content and meaning of art, rejecting modernist formalism. This shift embraces art's persuasive power, allowing communication with a broad audience. Schutz's work fits within this movement, addressing themes of personal and group identity. Many contemporary artists explore national, ethnic, racial, and religious identities. African American^[1] artists, for example, use their art to comment on racial prejudice and cultural experiences. Similarly, artists of all backgrounds address gender and sexuality, reflecting the social upheavals and struggles for equal rights. Schutz's art participates in these dialogues, using figuration and bold compositions to explore the human condition. Her paintings offer a space for viewers to consider their perceptions of themselves and others in a diverse world.

Dana Schutz is known for using oil paint on canvas. She often employs thick applications of paint, creating textured surfaces. One method involves mixing oil paint with a medium of wax and turpentine. The wax medium is kept warm on a hot plate to maintain a liquid consistency. This mixture is then combined with the paint using a brush, ensuring thorough integration before application to the canvas. After application, the paint is manipulated with a large painting spatula and a small painting knife to achieve the desired effect. The artist tries to keep the surfaces in one painting constant and total. Schutz also uses pre-primed and pre-stretched canvas. Other techniques associated with oil paint include scumbling, sgraffito, and stippling. Solvents are used to clean brushes, and mediums can be alkyd resin-based.

It is difficult to identify specific artists directly influenced by Dana Schutz. The art world in the 21st century is interconnected, and artists draw inspiration from many sources. The revival of interest in figural art can be seen in the work of Jenny Saville and Kiki Smith, although their approaches differ greatly from Schutz's. Saville exaggerates the body's girth in her over-life-size self-portraits, while Smith explores the socially constructed nature of the body in her sculptures. Contemporary artists such as Kehinde Wiley and Kerry James Marshall address issues of identity in their work, a theme also present in Schutz's art. Wiley reworks historical portraits with young black men as subjects, while Marshall depicts scenes from African American^[1] life on a grand scale. Some artists, such as Anselm Kiefer and Julian Schnabel, experiment with materials and media in ways that echo Schutz's innovative approach to painting. Kiefer incorporates straw and lead into his textured surfaces, and Schnabel combines broken crockery and paint in his Neo-Expressionist works.

Dana Schutz's influences include a range of modern and contemporary figures. Artists such as Eva Hesse, Georgia O'Keeffe, and Louise Bourgeois have connections to Schutz. Other artists who have influenced Schutz include Vincent van Gogh, Edvard Munch, Henri Matisse, Paul Klee, Alberto Giacometti, Pablo Picasso, Andy Warhol, Paula Rego, Alice Neel, and Kara Walker. The New York School, with figures such as Jackson Pollock, Arshile Gorky, and Willem de Kooning, also had an impact. One artist recalled seeing Gorky's "Agony" (1947) and "The Liver Is the Cock's Comb" (1944) at the Whitney in 1951, which made a considerable impression. This person also saw many of Pollock's works from the 1940s. Barnett Newman, Mark Rothko, and Clyfford Still also had an impact, particularly regarding the scale of their work.

It is difficult to name Dana Schutz's single 'most famous' work. However, one of her most discussed paintings is 'Eating Atomic Sunshine' (2003). This piece typifies Schutz's style, which often features figures in unusual, imagined situations. Schutz's work often deals with themes of social and political concern. She creates imagined, sometimes grotesque, scenarios that explore human behaviour. Her paintings are characterised by their bold colour palettes and thick application of paint. She often distorts figures and perspectives, creating a sense of unease. This approach places her within a tradition of expressionist painting, where emotional impact and subjective experience take precedence over realistic representation. Her works have provoked debate, solidifying her position as a significant, if controversial, figure in contemporary art.

Dana Schutz emerged as an artist in an era characterised by multiple styles and a prevalent inclination towards social commentary. Identifying one specific movement to which she belongs is therefore difficult. Her work has been associated with Narrative Art, given its focus on storytelling and character development, and with Political Art, due to its engagement with social and political issues. Some classify Schutz as an "Up-and-Comer", a term denoting artists who are gaining recognition for their innovative approaches. These classifications, however, are not mutually exclusive. Schutz's art often combines elements of several styles, making it difficult to place her within a single category. Her paintings frequently incorporate figuration, bold colours, and expressive brushwork; these qualities resist easy categorisation.