‘Alone.’ This is how Denes says she felt as a pioneer of ecological art. In 1982 she created Wheatfield – A Confrontation, nearly an entire hectare of wheat planted and harvested on a plot of land in the shadow of New York’s Twin Towers: a work of Land art protesting capitalist greed and the degradation of the planet. The gesture was repeated this year both in a plot of land neighbouring Tinworks Art in Bozeman, Montana, and on moveable pallets outside Art Basel, the confrontation of the art market and Denes’s protest deliciously uncomfortable. What the interest in these new iterations did demonstrate was how much, amid a worsening climate emergency, the artworld and its own increasing attention to the study of land, ecofeminism and the relationship between humanity and the environment, has caught up with Denes’s way of thinking. This year she had institutional shows at the Museum of Fine Arts, Budapest (the city in which she was born), and Lunds Konsthall, in Sweden (where she grew up), and participated in nine major group shows. Denes, at ninety-three, refuses to slow down – her next project: how to create ‘vertical fields’.