[1] After leaving college Fitzmaurice moved away from pure painting and his practice eventually focussed on a strategy of intervening in already existing objects, materials and situations, a way of working which continues to this day.

[3] Also after graduating Fitzmaurice developed an interest in working in non-gallery situations by co-organising a number of 'artist-led' projects such as All in the Mind (1998), with artist Patricia McKinnon Day, which took place inside a disused mental asylum;[4] and Up In The Air/Further Up In The Air (1999–2004) with artist Neville Gabie, which used tower blocks as contexts for art and writing.

[5][6] In these projects Fitzmaurice worked with the artists and writers George Shaw, Julian Stallabrass, Elizabeth Wright, Lothar Gotz, Will Self, Anna Fox, Marcus Coates and Bill Drummond amongst others.

[7][8][9] During this time Fitzmaurice continued to develop his own practice, exhibiting widely in shows such as Good Riddance at MOT, London, in 2007;[10][11] the international sculpture show Blickachsen 6 in Germany the same year;[12][13] Undone at the Henry Moore Institute in Leeds in 2010[14] (which was reviewed in Art Monthly by David Briers);[15] The Way We Do Art Now, curated by Pavel Buchler, at Tanya Leighton Gallery, London, also in 2010;[16][17] Chain Chain Chain, 2012, at Bischoff Weiss, London, curated by Glenn Adamson;[18] and Cosmos Levels, the same year, curated by Jamie Bracken Lobb at The Sunday Painter gallery, London.

[19][20] During this period Fitzmaurice developed the long-term project Post Match which was launched in 2009 with a publication by art agency Locus+.