Salman Toor draws from a broad range of cultural influences such as western old masters, children's books and Bollywood and local Pakistani advertising. This combination of sources is not as eclectic as it sounds, and his choice of material is assimilated by his technique. Toor strives to paint pictures which seem hollow, materialistic and whimsical like the local cliched ads yet manages to show emphasis on beauty like the historical paintings of his idols Velazquez,
Bellini, Titian.. etc.

In Defence Housing Authority, Toor satirizes imagery from advertisements for Lahore housing schemes. As in his previous work Paradise Villas (2011), Toor presents the fanciful, seductive world shown in contemporary advertisements while simultaneously revealing bitter undercurrents of reality. A servant and two guards stand sentinel to new prosperity, holding their places in front of one of the newly constructed model homes. The guards occupy a Disneyland of sentimental daisies and four-leaf clovers, blue skies with creamy clouds. Their frozen smiles create a menacing sense of foreboding in this plastic paradise of happy class divisions.