His writing was extensive, and his theoretical work embraced two lengthy manifestos, the article "Pseudo-Functionalism in Modern Architecture" (Partisan Review, July 1949) and the book Contemporary Art Applied to the Store and Its Display (New York: Brentano, 1930).

[3] Kiesler organised the Internationale Ausstellung neuer Theatertechnik in Vienna in 1924 and on September 24, 1924 arranged the world premiere of the 16-minute film Ballet mécanique, directed by Dudley Murphy and Fernand Léger, with Man Ray.

In November 1975, Lillian Kiesler, Frederick's second wife, found Léger's original spliced 35mm, 16-minute version of the film in the closet of their week-end house in the Hamptons on Long Island, near New York City.

The music for the film was originally composed by George Antheil, who used it to create a separate concert piece, also named Ballet mécanique, which premiered in Paris in 1926.

His architectural designs include the Film Guild Cinema (1929) in New York City and, with Armand Phillip Bartos, the Shrine of the Book (1965) in Jerusalem, Israel.

He designed some intriguing furniture, a few pieces of which were featured in the yearbook of the short-lived American Union of Decorative Artists and Craftsmen (AUDAC); he was a founding member of the organization in 1930.

Thus the traditional division of the plastic arts, sculpture, and architecture, is transmuted and overcome and their fluid unification is now contained within rather than combined from without.These multi-paneled paintings were also sparked by the artist's response to the political and social upheaval of his time.

Conceived only a few years after the atomic bombings of Hiroshima and Nagasaki, Kiesler described his inspiration for the Galaxies as follows: If the reassessment of values in these tense times is of necessity for each and all of us, one is convinced that the artist’s work too can no longer be placed in isolation: that art must strive again to become part of daily experience.

The idea of sculpture as a landscape in Us, You, Me reflects upon Kiesler’s history with stage design, and the subject matters marking underlying anxieties of modern life.

The sculpture was conceived in concrete and mesh by Kiesler and his assistant, Len Pitkowsky, between 1962–1965 and was posthumously cast in aluminum at the Polich Tallix Foundry, Rock Tavern, New York between 2006–2008.

He tests the tensile strengths of various metal alloys, experiments with different methods and shapes, and after six months comes up with a very expensive device that holds two pieces of wood together almost as well as a screw".