During a recent trip to Paris coinciding with COP21, the 2015 United Nations Climate Change conference, I viewed a striking contemporary art installation at the Palais de Tokyo that prompted critical reflection about the meaning and value of “landscape” in an era of planetary ecological disruption.1 Titled simply Exit, the installation consisted of a forty-five-minute multimedia display projected on the wall of a darkened circular gallery. It surrounded viewers with maps, figures, texts, and sounds that collectively offered a “visual representation of the world’s population in motion” (fig. 1).2 Pixels of color morphed from the shape of one national flag to another, signifying millions of euros in remittances sent by immigrants to family members back home; flowing streams of variously hued dots represented hundreds of thousands of displaced refugees; and the names of several dozen densely populated coastal cities suddenly submerged with a splashing sound, denoting the anticipated impact of polar ice melt and the rise of ocean elevations due to global warming by the year 2100. The static image reproduced here hardly captures the dynamic complexity of the installation or its visual and sonic impact, a fact that raises questions about the limits of representation and scholarly analysis. Is it desirable, or even possible, for art to depict “political, economic and environmental forces”? What future, if any, does conventional landscape representation have in a world increasingly shaped by global ecological systems and environmental politics?