Land Artists preferred periurban, natural and rural landscapes as optimal spaces to test a new form of relation between man and nature, through an aesthetical and ethical critical attitude; aesthetical, as non-urban landscapes represented open air scenes which replaced the traditional exhibition halls and art markets, and, at the same time, places where the artistic work materials were mined, as well as sources of formal inspiration, setting out the reference scale to which the artistic signs were proportioned (Kastner, 1998; Andrews, 1999), to rediscover the res extensa through their ludic and ritual nature. On the ethical side, attention was strongly turned to the ecological issue, felt as an urgent need in that period, given the concern for the excessive consumption of natural resources. Thus, Land Artists laid provocative and theatrical emphasis on human actions, but, focusing on the key concepts of their reversibility and temporary nature, and though their effects were very short-lasting if compared to those of natural processes, at the same time they considered time and