Topher Lineberry is an artist who is promiscuous in form and method. They investigate social and political narratives through cultural histories of play such as comic books, cartoons, theme parks, world's fairs, etc. These histories point to many prescribed limits of democratic freedom. Lineberry often uses historical or archival material in conjunction with speculative proposal. In short, Lineberry fuses prequel and sequel into a queer space of becoming.

Topher often uses place and kin as a nexus for expansive interrogation. Lineberry has termed a large swath of their practice as "kinstitutional critique," whereby family and kin become the subject-object of institutional critique and, transversely, serve as the platform from which to critique the institutions it mediates. However, Lineberry also believes in cautiously advancing parts of this project toward a critical "kinstitution building."

If anything, Topher Lineberry's work lives at the crossroads of research, experience, ethics, and desire.