Krausz is Milton C. Nahm Professor of Philosophy at Bryn Mawr College,[1] and he teaches Aesthetics at the Curtis Institute of Music.

Krausz is the co-founder (with Joseph Margolis) and former Chair of the fourteen-institution Greater Philadelphia Philosophy Consortium.

[8] For such cultural phenomena as works of art, music, literature, and the self, can a single admissible interpretation exist?

[19] He further shows that the contest between singularism and multiplism is detachable from a range of other ontologies that fall under the reconciliatory heading of “constructive realism.”[20] None of the ontologies in Krausz’s inventory of constructive realisms uniquely entails either singularism or multiplism (and vice versa).

In addition, Krausz’s work on relativism canvasses the range and significance of relativistic doctrines and rehearses their virtues and vices.

He suggests that the assertion of undifferentiated unity, instanced for example in some Asian soteriologies, is compatible with relativism as here he defines it.

[27] Michael Krausz is the founding Artistic Director and Conductor of the Great Hall Chamber Orchestra at Bryn Mawr.

[28] The GHCO is composed of 42 young professional and conservatory musicians, and has collaborated with principal players of the New York Philharmonic and Philadelphia Orchestra as soloists.

Frederik Prausnitz of the Peabody Conservatory, and Luis Biava, Resident Conductor Laureate of the Philadelphia Orchestra also coached Michael Krausz.

Michael Krausz has had thirty-three solo and duo shows in galleries in the U.S., U.K., and India, and he has participated in many group exhibitions.

He is a member of Artist's Exchange, DE, and Delaware by Hand, which, in 2009, awarded him the status of “Master.”[29] Krausz's paintings depict various spatial planes at once, embodying scripted messages of no literal significance.

The works embody a kind of automatic writing arising from conductorial musical gestures in meditative spaces.