Material Actions is a performance created with video artist Mark Brown. The piece was originally developed for the Dutch Cabinet at the Walters Art Museum in Baltimore, Maryland and premiered as part of their 2016 ART/SOUND/NOW series.

In this performance Fucile used a series of contact microphones to "play" common, modern materials such as bricks, coins, and a fan. Brown projects a sound-reactive video behind me. The work work considers the economics of the Dutch Golden Age and the modern museum.

Occupational Enterprises is a performance where Fucile rearranges 200 white bricks into a series of structures for sixty minutes. Each one is toppled before building another. The sound of the moving, stacked, and collapsed bricks is transmitted by a contact microphone attached to the floor and distorted by a series of effects.

In addition to Fucile's Italian immigrant ancestry, the work was informed by several texts. The first, Hito Steyerl’s essay: “Is a Museum a Factory?,” observes that many places where employees worked on factory lines have recently been transformed into sites of artistic labor. Indeed, many cultural institutions and artist studios are in former industrial spaces. The second, Pietro DiDonato’s novel Christ in Concrete, tells the story of an Italian immigrant bricklayer who is killed on the job due to unsafe conditions and whose eldest son is forced to leave school to support his family.

Madness Method was 216 computer-controlled lanterns of varying heights that appeared chaotically arranged, flickering and changing in seemingly random patterns. As visitors explored the piece, patterns slowly become apparent in the placement and brightness of the lights. From a special, marked viewpoint, the lanterns snapped into alignment as a grid, acting as “pixels” in a larger display. The pixels showed a stream of simple images, animations, and text marquees that addressed themes of clarity, unification, human universality and connectedness. It was part of Georgetown GLOW 2021.

Time-based: Using 1,152 digits in “18:88” clock displays with 7,200 individual pixel elements, this artwork addresses themes of robotics, inevitability, and automation with imagery of fractal trees, geometric increases, countdowns, and scenes from the film Metropolis.