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.

Birds, Bees is a performance that utilizes with amplified objects and live sound pulled from multiple audio technologies. Rooted in the noises and materials of Fucile's grandmother's beloved Lowcountry South Carolina, it is a reflection on a place and the passing of time.

Dada Morte uses musical interpretations of an IBM computer punch card found among Fucile’s late father’s possessions. It also features melodica, voice, and electronics. This performance was part of the exhibition Memento Mori at The Parlor in Baltimore, MD and included live video projections by artist Brenton Lim.

X_X_I is an audiovisual manifestation of Carrie Fucile and Brenton Lim's intersecting ideas about technological upheavals from the twentieth century to the present. Fucile’s audio component consists of live vocals, melodica, MIDI keyboard, field recordings of hidden home and business technologies, and digitally generated sound. Lim’s live video is derived from his original block coding designed for the piece. This performance documented here was presented at The Center For The Arts, Towson University, Towson, MD.