She has other ties to Oedipus as well. Like him, she originally belonged to the society of which she claims to be a part -- in Oedipus' case, Thebes; in Oedipa's, twentieth-century America. But her discovery makes her an alien, and she comes to doubt her own sanity like Freud's conflicted men.
This question of reality is one of the most pressing concerns in the novel, particularly later on when Oedipa begins to suspect that the whole Tristero plot may be nothing more than a figment of her own overactive imagination. The problem of understanding the "religious instant" is closely tied to the concept of reality. First, notice that this religious moment has nothing to do with God, at least not directly. It is a type of secular religion that deals with a pagan god of batteries and small towns--a type of order and structure. But whatever is behind the religious instant, it cannot communicate anything in particular. "She gave it up presently, as if a cloud had approached the sun," thus, ending the moment. Oedipa has not come away with a greater sense of understanding but simply with the knowledge that, as the novelist Joseph Heller writes, "something happened." There is no communication as to what. If there is a message implicit in the moment, it is deeply shrouded, and the clouds come in to end the moment before anything can be really gained. The central problem is reaching any sort of underlying truth.
This certainly ties in to the events in the motel with Metzger. The game of Strip Botticelli is particularly illustrative of the plot about to unfold. In the game, the multi-layered Oedipa strips plenty of her clothes off, but she never really approaches any sort of nudity thanks to all her bundles of clothing. On one level, this may be an insight into Oedipa's personality; perhaps Pynchon is trying to assert that she is a multi-layered character who cannot be fully exposed under any circumstances.