[5] At this time he had already been influenced by Wassily Kandinsky and Max Ernst, and became one of the earliest proponents of abstract art in Germany.

[2][5] Muche's exposure to the Expressionist world influenced him to become more unconventional in his work, creating abstractions that combined elements of Cubism with the colour ideals of Der Blaue Reiter and Marc Chagall.

[3] He participated in three exhibitions from 1916 to 1918, each of which paired his work with that another artists: Max Ernst (1916), Paul Klee, and Alexander Archipenko (1918).

[7] Herwarth Walden had given him a five-year contract with Sturm in 1917,[7] but Muche dissolved it prematurely to gain some independence for his Bauhaus work.

[9] The house, which demonstrates a keen understanding of the use of space, has been called "a true artwork of the realization of abstract monumental beauty".

[5] Muche left the Bauhaus in 1927 to join the faculty of Johannes Itten's Modern Art School of Berlin, where he taught until 1930.

[5][7] For 1929's 10 Years of the November Group Exhibition, Muche oversaw the abstract and constructive design and architecture departments.

[5][7] Thirteen Muche paintings and two prints were confiscated from museums by the Nazis and at least two of those works were displayed in the 1937 Munich exhibition Entartete Kunst (Degenerate Art).

His work in the 1970s included a series of paintings and drawings making up the Tafel der Schuld (Panels of Guilt).

[6] In 1980 Berlin's Bauhaus Archive assembled an extensive retrospective, Georg Muche – Das künstlerische Werk 1912–1927.