It’s like watching the Renaissance gardens get a new lease—back then the Florentines were obsessed with planting the right species, balancing nature and art, and now they’re literally doing the same thing on a scale that’s meant to be felt, not just looked at. In the 19th century, Romantic painters like Delacroix and the Barbizon school were already mourning the loss of wilderness, turning landscapes into moral warnings. And of course, the early environmentalist movement in the 1960s had artists like Agnes Martin and Robert Smithson, whose land art turned the earth into a canvas, asking us to see the land as a living subject. So the current wave of recycled materials and living murals is really a continuation of that dialogue—art never quite leaves the boundary between human and nature, it just keeps redefining it.