[2] The interview that Miller conducted with Maciunas shortly before the latter's death is an outstanding documentation, which has made a great contribution to the reconstruction of early Fluxus history in particular.

Miller has become a frequent interpreter of "classic" Fluxus scores and is credited with enlarging the group's works to a wider audience, often straddling the boundaries between research, art, and producer.

In 2004, for Geoffrey Hendricks' Critical Mass: Happenings, Fluxus, Performance, Intermedia and Rutgers University 1958-1972, Miller reprised and updated the track and field events of the Flux Olympics, first presented in 1970.

[10] For Do-it Yourself Fluxus at AI - Art Interactive - in Cambridge, Massachusetts, Miller took on the role of curatorial consultant for recreation that offered viewers experiential interactive participation in Maciunas's original design of the historic Flux Labyrinth, a large, complex maze built by George Maciunas at Akademie Der Kunst, Berlin in 1976 featuring sections by many Fluxus artists with Miller's assistance.

Because when we did it we were trying to engage all these aspects of experience— aural, optic, olfactory, epithelial and tactile," Miller told post-Fluxus artist Mark Bloch in a 2015 interview.

With a large local audience in attendance, the event spectacle, broadcast live on German television, utilized fire trucks, police and military vehicles and vintage automobiles as sound instruments to bring Brecht's classic score to life.

[7] Miller and three collaborators Alison Knowles, Geoffrey Hendricks and art critic Peter Frank did a live performance of Pre-Fluxus, Pre-Happenings artist Al Hansen's Alice Denham in 48 Seconds at Andrea Rosen Gallery in 2006.

[13] A notable contribution to the spirit of Fluxus-related works by Miller has been the "Flux-Tour", a form of performance whereby artist-performers conducted alternative museum and gallery tours in which guides focused attention to the architectural spaces themselves rather than discussing or interpreting works of art on display, resulting in the examination of minute detail such as the floors, structural elements and lighting present in the spaces.

"In Fluxus' historic context these events were organised by means of open calls for participation, in which artists carried out their proposals, thus nourishing the movement's collaboration and communication grid.

"Basing lines of conceptual inquiry on his 1989 'copyright' claim to his personal genome, he focused on questions of the ownership of DNA, and of the commercial applications of genetic technology.

[7] In 1990 and 1993, Miller traveled to actions and exhibitions in Poland, where, among other things during the festival Constructions in Process IV by the International Artists' Museum in Łódź, he registered the DNA of poet Allen Ginsberg, and installed a sound sculpture in honor of Nicolaus Copernicus.

Miller's "Genomic License series postulates that DNA is a malleable material which, like clay or digital information, can be shaped into novel products -- bought, sold, and distributed like any other commodity.