Since its inception in the 1960s, the earth art movement has sought to make visible the elusive presence of nature. In The Ethics of Earth Art, Amanda Boetzkes analyzes the development of the earth art movement and contends that in basing their works' relationship to the natural world on receptivity rather than representation, earth artists take an ethical stance that counters both the instrumental view that seeks to master nature and the Romantic view that posits a return to a mythical state of unencumbered continuity with nature.