Andreas Fux grew up as a citizen of the GDR in East Berlin. From 1980 to 1982, he trained as an electrical installer, and in 1983, he began teaching himself photography. In 1988, his first photographic works were published in Das Magazin, a monthly East Berlin publication focusing on culture and lifestyle. A year later, he started working as a freelance contributor for the magazine, providing photographic insights into the East German punk and youth scene, which initially expressed itself through clothing and a sense of improvisational fashion. In 1989, he worked on photographic productions for DEFA documentary films. Since 1990, Andreas Fux has been working independently as a freelance photographer for various newspapers and magazines, while also focusing on his own artistic projects. Fux is part of the Prenzlauer Berg photography artist scene, which documented the final decade of the GDR, the fall of the Berlin Wall, and the transition to reunification with West Germany. Alongside Sven Marquardt, with whom he has been friends since 1984, he is one of the most prominent representatives of this scene.

In 1992, his first publication, Die Russen kommen (The Russians Are Coming), was released to accompany an exhibition of the same name at the Fotogalerie Janssen in Berlin, as well as in Hamburg and Munich. Fux gained broader recognition through his photo series Die süße Haut (The Sweet Skin, 1995–2005), a portrait series focusing on tattoos and scarifications. In this series, he followed some of his models over many years, often inviting them to his studio for nighttime shoots in a neutrally lit white space. Themes of nudity, body culture, and sexuality continue to feature in his more recent works, such as the series Am Ende der Nacht (At the End of the Night). Here, he uses black backgrounds and plays with focused lighting to sculpt and fragment his models in a way that feels almost sculptural.

Andreas Fux lives and works in Berlin.