[7][28] The projections of Yiddish-language businesses and everyday people seemingly oblivious to the camera (and their impending fate) both blended into and uneasily jostled against color surroundings of contemporary vehicles, billboards and graffiti.

[28][6] New York Times critic Charles Hagen described Attie's technique as "uncanny, creating the sense that the surfaces of the scenes themselves are being peeled back like old wallpaper to reveal the history buried beneath them.

The embedded close-up portraits of the series connected the dramatic 1943 Danish rescue of Jews on fishing boats to the country's housing of present-day asylum seekers in crowded container ships in Copenhagen harbor.

[8][30][37] The Attraction of Onlookers: An Anatomy of a Welsh Village (2008, National Museum of Wales) offered a restrained yet intimate portrait of the community of Aberfan, 40 years after a human-caused mountainside disaster buried the town's only grammar school, taking the lives of a generation of children and many adults.

[30][8] Attie filmed individuals rotating slowly on a platform in a darkened void as they "performed" their real roles—some iconic Welsh tropes identifiable by their tools of trade or uniforms—recasting the village as also typical as it attempted to move beyond the catastrophe, public scrutiny and resulting loss of privacy.

[32][5][3] Its looping 20-foot screen displayed silent video portraits—figures emerging from darkness, approaching, and in close-up, gazing intently—of twelve New Yorkers recently granted political asylum in the US after fleeing violence and discrimination from diverse homelands.

[35] For Facts on the Ground (2014), he interrupted desert and urban landscapes across Israel and Palestine with custom-made light boxes that illuminated short, enigmatic or poetic phrases, employing compositions and locations carefully chosen for their historical, sociopolitical and physical specifics.

Referencing both the journey in Mark Twain's Adventures of Huckleberry Finn and recent events, the raft juxtaposed rustic, anachronistic objects with one contemporary item—a softly glowing bright red police light—a contrast echoed in the work's aural mix of natural and abstracted news-media sounds.

[35] Like Lost in Space, Attie's commissioned installation at Lehigh University Art Galleries in Bethlehem, PA, Starstruck: An American Tale (2022), introduced sculptural elements alongside multi-channel video.

[8] The installation featured two walls of projected video representing layers of Bethlehem's complex past, which flanked a replica of the city's 91-foot star symbol equipped with synchronized music and lighting that oscillated between "Christmas white" and a rotating color display akin to a casino wheel of fortune.

Moving between still shots and slow camerawork, the video's collapse of time and narrative embodied moments of overlap and rupture in the public sphere and built environment that offer opportunities for dialogue and change.