He has participated in group exhibitions at Kunstmuseum Winterthur, Switzerland, the Emily Harvey Foundation in New York,[2] the Magazzino d'Arte Moderna in Rome, the Collezione Maramotti in Reggio Emilia, Italy, and in Luxembourg, London,[3] Paris, Buenos Aires, and Miami.
"[13] Hudson for Artforum noted the deconstructive activity in this work and of the eerie overall effect of taking in the exhibition: "Standing amid a room full of eyeless totems is an oddly disconcertng experience, one that, for me anyhow, gave rise to the fantasy that they were gazing into a void.
[9] In his 2017 series of paintings, unveiled at Team gallery's Los Angeles space, Janitz broke away from his usual monochrome background and used a different palette of bright pastels and neons—still made with oil, wax, and flour—inspired by the city's man-made landscapes.
The work exhibits the artist's interest in inorganic life for the series, how super hot plasma turns cosmic dust particles to act lifelike.
In addition, Janitz made an accompanying audio piece for the exhibition, a chiming noise triggered by a motion detector upon one's entry into the gallery.
The sound is taken from the 1972 BBC documentary short, Reyner Banham Loves Los Angeles,[16] in the segments signaling the narrative of the "Baede-Kar," the British architectural historian's conceit in the film of his L.A. car acting as a Baedeker German travel guide.
[17] He acted in New York artists Erik Moskowitz + Amanda Trager's videos, Cloud Cuckoo Land (2008) and Two Russians in the Free World (2013–14), which have been shown internationally.