Grinberg created landscapes, portraits, still lifes; he was also engaged in the book and magazine graphic art. He participated in the competition for the design of the A.S. Pushkin monument, where he was awarded the 1st prize (1924, not implemented). Grinberg created illustrations for American Stories by O` Henry (1925, not published), Chinese Boy by F. Bret Harte (1927), Students (1927) and Tema’s Childhood (1920s) by Garin-Mikhailovsky, Yasha Anson Arrest by Strauyan (1928) and others. In 1930s — early 1940s he collaborated with the magazines YeZh (“Monthly Magazine” or “Hedgehog”; until 1935) and ChIZh (“Extremely Interesting Magazine” or “Siskin”).

In early 1930s Grinberg was accused of formalism. In 1934–1935 he worked under the contract on a series of Leningrad landscapes (New Leningrad, Socialist Leningrad). Grinberg visited Uglich (1935), Gurzuf (1937), Gelendzhik (1939); during his journeys he performed a number of watercolors and oil paintings. In 1941 he created a series of pictures of models in the technique of gouache.

Grinberg was a member and exhibitor of the group Shestnadtsat (“Sixteen”, 1924), the Association of the artists of Revolutionary Russia (AKhRR) — the Association of the artists of the Revolution (AKhR, since 1928). He participated in exhibitions of the Soviet art in the United States (1924–1925), Japan (1926–1927), Paris (1929), the 14th International Art Exhibition in Venice (1927), the Anniversary Exhibition of Fine Arts (1927), the First Public Exhibition of Fine Arts (1930) in Leningrad, the exhibition Artists of the RSFSR for 15 years in Leningrad and Moscow (1932–1934) and others. In 1930 personal exhibition of the artist was held in Leningrad (1930). Since 1933 Grinberg was a member of Leningrad Department of the Union of Soviet Artists (LOSSKh).

Grinberg lectured at the circle of Fine Arts under K. Marx (early 1920s), the State Architectural Institute (1923–1927), Leningrad Technical School of Industrial Art (1926–1927), Leningrad Construction Institute (1929–1932), Leningrad Institute of communal construction (1930–1941), Leningrad Institute of Painting, Architecture and Sculpture (1932–1933), Leningrad Engineering Construction Institute (1933–1939, since 1937 he headed the department of drawing and painting of the faculty of architecture), in the circles of advanced studies at Leningrad House of Architect and at Leningrad Project Institute (Lenproekt, 1930s).

During the Great Patriotic War, Grinberg stayed in Leningrad. He participated in the construction of defensive structures. Grinberg died in the besieged city; was buried at the Ohtinsky cemetery.

Retrospective exhibitions of Grinberg’s works were held in Leningrad–St. Petersburg (1946, 1976, 1982, 1987, and 1996), Rostov-on-Don (1996), Barnaul (2002), and Moscow (2008).

Grinberg was one of the most significant representatives of the so-called Leningrad school in 1920s–1940s, along with N. A Tyrsa, N. F Lapshin, A. Uspensky, A. Vedernikov, A. I. Rusakov, A. N Samokhvalov and others. In 1910s — early 1920s he was influenced by A. E Yakovlev and V. I. Shukhaeva. This influence was expressed in charcoal and sanguine works. Later Grinberg developed his own style which can be characterized by recurrence of motifs, free brushwork, the desire for plastic and tone generalization, thin nuanced colors.

Works by Vladimir Grinberg are in many museums and private collections, including the State Russian Museum, the State Tretyakov Gallery, the Pushkin State Museum of Fine Arts, the State Museum of History of St. Petersburg, Rostov Regional Museum of Fine Arts in Rostov-on-Don, and others.