Her work at SoMad spans a series of high-level cultural programs and internationally engaged projects. She played a key role in the audiovisual and lighting design for exhibitions such as “Rubber Rubber” by Yi Hsuan Lai, presented both at SoMad and during Miami Art Week in collaboration with New Art Dealers Alliance. She also led technical execution for projects such as “Acts of Service” by Keith LaFuente, overseeing lighting design, audiovisual systems, and VR documentation.

Mussi also contributed to presentations with SoMad at major art fairs, including NADA New York, NADA Miami, AIPAD, and Alcova, supporting artists such as Soraya Zaman, Paul Simon and David Aliperti, where her work directly enhanced exhibition visibility and strengthened collector engagement within a highly competitive global art market.

Within SoMad’s residency programs, she held primary responsibility for the lighting design and audiovisual execution of “Life is Drag” by Rachel Rampleman, developing and implementing a complete lighting and visual effects system across a series of performances involving multiple artists. Her work required the creation of distinct lighting environments tailored to each performer, integrating dramaturgy, movement, and spatial composition while maintaining technical consistency and high-level visual documentation standards.

She contributed to Mad World: Queer Ecologies, SoMad’s annual multidisciplinary program. The program features installations, live performances, screenings, and site-specific works developed across multiple floors of the space. Within this context, she supported the technical execution of audiovisual and lighting systems, contributing to the overall consistency, spatial design, and immersive presentation of the program. In 2026, she held a central leadership role in Mad World: A Bag to Breathe into, which featured more than 37 artists. She was responsible for the full lighting design during performances, multimedia installation, projection systems, and immersive audiovisual environments across the exhibition.

Beyond individual projects, Mussi has shaped the technical foundation of SoMad itself, designing and building the systems that allow the institution to produce and document its programming at a professional level. She conceived and installed an internal live-streaming network that connects the main stage to the upper floors, giving performers and technical teams real-time visibility into each show. She led a full redesign of the second-floor audio environment, with independent zones and acoustic treatment built to adapt to performances, screenings, panels and recorded productions, and she developed a wireless lighting control network that turned the same floor into a fully programmable performance and production space. On the third floor, she designed a dedicated lighting studio that operates as a white-box, gallery setup or cinematic recording environment depending on the project, and she built a centralized projection network across the second floor that supports synchronized multi-surface installations and projection-mapped performances. She also leads the audio mixing and mastering for the institution's recorded media output, shaping the final sonic identity of SoMad's digital archive. Together, these systems form the technical and creative infrastructure that supports SoMad's growing role within the contemporary art circuit, and they form the foundation Mussi is now scaling up in the design of SoMad's new building.