Georg Nussbaumer often works with installations that introduce a variety of organic and inorganic materials to enhance instruments, such as machines, video or live animals. The scores of his often lengthy works include processes that manifest as haptic events: acoustic, visual, at times also tactile or olfactory.

Nussbaumer was artist-in-residence at various residencies such as: Djerassi Resident Artist Program (CA) and Villa Aurora (CA) where he created projects such as: orpheusarchipel (Opera Bielefeld 2002); Märchen vom Lied vom Wald (Museum Hamburger Bahnhof, Berlin 2002); Von der Wiege bis zum Graab (Donaueschingen Music Festival 2003); schlachten:szenen (Vienna Modern 2005); Schwerefeld mit Luftabdrücken (Steirischer Herbst, Graz 2006); Tristan - Schwimmen und Schweigen (National Theatre Mannheim 2006); Die schönsten Gipfel der Alpen (Maerz Musik Berlin 2007); Lawine, Wald und Stbenmusi (Bregenz Festival 2009), and Walküren, Wölfe, Waldvöglein (Academy of Arts in Berlin 2010).

Recent works created for public spaces expand spatial and temporal  dimensions, such as in Organopolis (three nights of seven church organs broadcast in a park in Vilnius); Barkarola (for six listeners and a piano wandering through Łódź for a week) and the four-day-long opera that traveled over 32 kilometers Invisible Siegfrieds Marching Sunset Boulevard (Ring Festival Los Angeles).