Bronisław Wojciech Linke belonged to a small group of Polish artists who presented a pessimistic vision of the consequences of industrial and technological progress. His works, such as for instance the series Miasto (City) from 1931-1935, were concerned with the increasing dehumanisation within contemporary society. He created depictions of the deteriorating living conditions resulting from economic processes (Bezrobocie/Unemployment from 1932-1934) and the expanding industrialisation of the country (series Śląsk/Silesia from 1936-1938).
Linke's harsh criticism also targeted the hypocrisy of the bourgeois culture, the cult of money, and heartless bureaucracy. He commented on those phenomena in satirical drawings and caricatures, which appeared in press publications such as Szpilki and Dziennik Ludowy. The journalistic aspect of these works, their broad audience appeal, and calls to society remained significant features of his output also after the war.
Linke always used an expressive style in his works, usually brutally revealing the most drastic aspects of the surrounding reality. His works were in general anti-aesthetic, or even morbid. They were to provoke shock and disgust in a way that would inspire reflection. Human figures transform into nightmarish ghosts, while the elements of their surrounding reality, such as houses or machines, often come alive and become stalkers or a source of threat to human life.
In his frightening visions, Linke combined a direct, precise observation of reality with elements of metaphor, while bluntness and crudeness of representations – with a certain kind of lyricism. These features have often tempted researchers to investigate his connections to Surrealism, which seems incorrect, as the painter was far from the basic premises of that current. Some also sought the genesis of Linke's art forms in the Neue Sachlichkeit or German Expressionism art currents. Attempts would be made to describe it in the categories of metaphorical realism, indicating the symbolical meaning of objects or people, removed from their surroundings and represented in a crude way. His oeuvre is also close to selected premises of magical realism, in their uncanniness and unearthliness of the seemingly realistic imagery.
After World War Two, the artist continued to collaborate with the press, for instance with Polityka and Trybuna Ludu, submitting works referring to political, social, and cultural issues. He created a number of artworks concerned with a struggle with fascism and racism, as well as critical representations of current social relations. He also came up with a moving portrait of the ruins of Warsaw in his cycle Kamienie krzyczą (Screaming Stones), painted in 1946-1956. It could be treated as a continuation of the motif of disaster, which was present in Linke's oeuvre even before the outbreak of the Second World War, for example in the series Wojna (The War) from 1931-1932.