Fuchs encourages playful and, at times, jarring interactions between her paintings and sculptures. In one arrangement she groups a painting of a cast of a classical sculptural fragment with a painting of a print by a regional modern German artist and a sculpture of a vase. With their right hands held aloft, the figures in both paintings share poses that create a serendipitous echo. The accompanying vase is unabashedly turquoise, similar to the hue in the painting of the print. These convergences allow for the re-assessment of age-old cyclical patterns in art history. They invite contemplation of figure and gesture, of how the original German print leans on Picasso, of how Picasso leans on classical art, of the effectiveness and simplicity of color matching in both the home and in art. Fuchs makes the proposition that all forms of making are equal and ultimately collaborative, building on artists and objects that are both known and unknown. Fuchs espouses the personal and intimate experience of made objects, creating collaborations across time and space.