Liquid Landscape by Roosegaarde creates a playful dialogue between people and nature. Visitors experience an unexpected fluid movement when stepping on this surreal landscape of grass.

Robert Morris’s Untitled Earthwork (Johnson Pit #30) (1979) reshaped an abandoned gravel pit into a terraced amphitheater, reclaiming the land as public art. Today, the site also serves as a space for walking practice and outdoor movement activities.

Dennis Oppenheim’s Ground Mutations – Shoe Prints (1969) used grooved shoes worn for three months to leave imprints across industrial landscapes, documenting human movement and transforming ordinary footsteps into patterns that merge process, trace, and photographic art.

Richard Long’s Connemara Sculpture (1971) was a site-specific arrangement of beach pebbles in Connemara. Made to weather naturally, it eventually disappeared, surviving now only through photographs, writings, and its lingering influence.

Walter De Maria’s 1969 Las Vegas Piece – mile-long bulldozer lines forming a square in the desert – was hard to find even then and is now barely visible. The work’s elusiveness was central to the experience, emphasizing remoteness and chance.

The Vietnam Veterans Memorial in D.C., designed by Maya Lin, features two black granite walls set below ground and engraved with the names of the fallen. As visitors walk through, they see the names and service dates, their reflections merging with the inscriptions in a contemplative space.

Robert Smithson’s Spiral Jetty (1970) is a 1,500-foot-long earthwork made from 6,000 tons of basalt rock, winding into the Great Salt Lake. The spiral form reflects salt crystal deposits and explores themes of entropy, transformation, and the passage of time in the landscape.

Body Techniques is a series of 8 photographs by Carey Young exploring the body in globalized corporate spaces. Set in Dubai and Sharjah, she reworks conceptual art actions, highlighting tension between individual agency and overwhelming, hyperreal corporate landscapes.