In 1962, Rachel Carson published Silent Spring. This event was considered to be the origin of the shift from the science of ecology to the social movement of environmentalism. Since then, approaches, ecosophies, and political ecologies, from deep ecology to green corporatism, have multiplied. In those early years of environmentalism, where did artists, critics, gallery owners and the art milieu look for reference? After the depoliticisation of Abstract Expressionism, a growing anguish in the face of the nuclear threat, and the ideological polarization of the world, Pop Art emerged in the United States as a meta-entertainment identified with the consumer society, and, a few years later, drawing from conceptual art premises, Land Art and the earthworks proposed a form of public art existing beyond the gallery space. One could find therein veiled references to the ecological crisis, with the notion of entropy and Robert Smithson’s fascination with the crumbling anti-landscapes of Passaic, New Jersey — or any urban periphery after the Great Acceleration of Post-War thermocapitalism. But, in general, the group, a largely WASP male cohort, built the anthropocentric proposals on a conventional notion of the role of the art and the artists, blind, somehow, to the land as an eco-political subject, its histories and potential as substrate for life, not only for spectacle.