Whether it’s Hilma af Klint finding the soul in nature or a new perspective on chinoiserie at The Met, the shows below are about seeing things differently.

Edward Burtynsky's photographs once offered a prescient vision of large-scale anthropogenic changes; now, they feel more and more like a pretext for aesthetic dazzle.

Kay Kasparhauser’s sculptural habitats, in which live isopods and springtails, hint at the necessity and limitations of care.

For every idyllic image of the Hudson River Valley in Shifting Shorelines, there are many others in which human industry intrudes upon the view.

Alvin Ailey, Jesse Krimes, Tina Girouard, Aboriginal bark painting, and more.

The Harrisons' Survival Piece #5: Portable Orchard at The Whitney is a calm and orderly response to the dystopian possibilities of climate upheaval.

From a Christmas-themed show to a window exhibition at Chinatown’s oldest running shop, this hot month is full of surprises.

At Appleton Farms, a new installation provides endangered bobolinks a secure place to nest, affirming a sense of human agency in the face of ecological loss.

Kroll has put a lot of labor into dismantling machinery that once took a lot of labor to create, in the ongoing effort to save ever more labor.

In El abrazo, Morelos balances spectacle and substance, offering visitors plenty to touch and to ponder.

Dennis’s exaggerated scenarios compel non-Indigenous viewers to confront racial dynamics that many people in the images choose not to see.

Climate Futurism suggests that the world’s civilizations must process lessons from its fraught colonialist histories to prepare for future ecological difficulties.

What the artworks in Amazonia offer is a means to communicate complex or abstract subjects with uncommon immediacy.

Johnson’s own garden raises questions about restricted access to public spaces.

Lind-Ramos emphasizes perseverance in the face of catastrophes like Hurricane Maria.

Rockman renders crashing ships invisible behind clouds of snow.

Many writers will tell you that writing is a physical activity. Renee Gladman’s drawings convey that idea in a more visceral, less cerebral way.

The Brazilian artist practices an erasure poetry upon textiles and assembles the results into evocative, semi-sculptural configurations.

Project Art Distribution's roving shows exuberantly defy the established art world order.

Silas Inoue’s “mold paintings” set a dark, suggestive mood.

Combining elements of Surrealism, Symbolism, and portraiture, Vicuña’s paintings are parables of personal and political awakening.

Riley’s nautical-themed exhibition brims with antic details that constitute a feat of serious world-building.

An artist book introduced by curator Bob Nickas seeks to introduce a new generation to the artist, who abandoned her art career 30 years ago to practice social work.

For all its quirks, Sprout Hinge Nap Wobble’s immersive elements never feel gimmicky.

The artist’s wall-size drawing evokes a geologic mood within a neighborhood that has changed in recent decades.

Puerta’s artworks strike a gentle balance between whimsy and sincerity.

A conversation with Richard Kraft about his artist book in which he created penalty flags for nearly 10,000 of Trump’s misdeeds.

The animal carcass sculptures are gruesome yet their materials — the artist’s own discarded clothing — lend them some gentleness.

This group show proposes fresh paradigms of land ownership and art making in contrast to the rugged individualism of much early Land Art.

Speculations about climate change by an array of artists feel eerily probable, if not already real.

Mark Hage's photos of empty storefronts reveal how real-estate development leaves behind sites of civic neglect.

Gyun Hur's and Shoshanna Weinberger's installations emphasize poetic innuendo rather than overt autobiography.

Employing drones, Mosse creates psychedelic aerial maps of ecological degradation.

Mindiashvili's installations strike a teasing balance between disclosure and concealment.

The graphite floor map can be understood as a post-apocalyptic landscape, a commentary on artistic labor, or a parable about COVID-era confinement.

Works by 10 artists have been installed on an ice floe in arctic Sweden where they will remain until the ice melts and they sink into the sea.

Fernández employs motifs of darkness and obscurity to hint at the something beyond what we see.

Mattingly's landscape photographs evoke each site's geologic timeline.

Skinner imagines the jury-rigged technology that would enable survival in the wake of apocalyptic climate disaster.

In her film on view at the Shed, the artist explores dirt's unsettling aesthetic effects, as well as its conceptual resonances.

Andy Goldsworthy's installation seeks to signal anti-imperialism at a notoriously capitalist site.

When used as wayfinding landmarks or burial mounds, piles of stones can have an air of mystery about them.

The cultural center has successfully reimagined an exhibition to better suit an online presentation. 

How do we experience eco-art online and what might it suggest about the nature of the digital gallery experience?

Sarah Rothberg and Marina Zurkow reveal water’s unearthliness.

At the Aldrich Contemporary Art Museum, artworks confront their own untimeliness through appeals to a deeper, more cosmic, sense of space and time.

Objects on display designed to be green substitutes for those that are ecologically harmful or failing are among the most thought-provoking in this exhibition.

Spanning half a century, this retrospective reveals Denes's art to be so forward-looking that some of it remains ahead of its time even today.

Motohide Takami's images locate the exact distance at which you can contemplate tragedy yet remain untouched by its damage.

Michael Wang’s installation resembles an assisted living facility for plants.