One of the most interesting aspects of Kentridge’s work is his refusal to place artistic phenomena within set categories, granting equal footing to drawings, prints, collages, theater and projections. As a young artist he was advised to focus on one medium only, but he chose a post-modern approach to media and mixture of tools in art that served him well.
Ideas are born in drawing and migrate through other media as a wide-ranging tapestry and opera with unanticipated transformations.

About his creative process and his way to dance around multiple media Kentridge said:

My goal was to see how a drawing comes into being… I started by filming the blank page with the idea of filming each mark as it was added. The idea was that you would see drawings drawing themselves. When that was done, I thought ‘Well, I could continue with that process’. In other words, I wouldn’t have to stop when the drawing was finished. The drawing, through film, could continue almost indefinitely. I really just wanted to see drawing continually making itself-making, erasing, and eventually changing into different images. I wasn’t thinking of its animation. I was thinking of it as drawing.

As Robert Stam and Toby Miller affirm in Film and theory: an anthology, Kentridge can be considered a post-modernist since in most of his work (and Drawing for Projections is a perfect example) he gives emphasis on rejecting boundaries between high and low forms of art, rejecting rigid genre distinctions, emphasizing pastiche, parody, bricolage, irony, and playfulness . Post-modern art favors reflexivity and self-consciousness, fragmentation and discontinuity (especially in narrative structures), ambiguity, simultaneity, and an emphasis on the de-structured, de-centered, dehumanized subject.  

Another post-modern aspect is Kentridge’s attitude on the social importance of art, what is defined as agency: his interest is being an agent of social change through his art. This approach can be considered the most typical representations of Marxism in art where artworks often attempt to show how art interacts with power structures in society. Regarding this issue, Kentridge  is said to be interested in a political art, that is to say an art of ambiguity, contradiction, incomplete gestures and uncertain endings; an art and politics in which optimism is kept in check and nihilism at bay .

Kentridge's art focuses on the complex and violent history of South Africa.He is happy to be called a political artist, so long that it is understood that political art, in his words, can also be an art of ambiguity and contradiction and not obsessed with a position or a program. Kentridge’s works look at the effects of apartheid, especially on those who had the most to gain by pretending the system was just and not substantially different from any other.