Baum, Kelly; etal. (2010). Nobody's Property: Art, Land, Space, 2000-2010. Princeton, New Jersey: Princeton University Art Museum, Distributed by Yale University Press. Bower, Sam. "A Profusion of Terms". GreenMuseum. greenmuseum.org. Archived from the original on 1 February 2014 . Retrieved 23 August 2015. Diamond, Irene; Orenstein, Gloria Ferman, eds. (1990). Reweaving the World: The Emergence of Ecofeminism. San Francisco: Sierra Club Books.

Moyer, Twylene; Harper, Glenn, eds. (2012). The New Earthwork: Art Action Agency. Washington, DC: University of Washington Press. ISBN 9780295991641. Warren, Karen J. (1987). "Feminism and Ecology: Making Connections". Environmental Ethics. 9 (1): 3–20. doi: 10.5840/enviroethics19879113. Zimmerman, Michael E. (1987). "Feminism, Deep Ecology, and Environmental Ethics". Environmental Ethics. 9 (1): 21–44. doi: 10.5840/enviroethics19879112. Demos, T.J. and Francesco Manacorda, Radical Nature: Art and Architecture for a Changing Planet, Walter Koenig, 2010.Naess, Arne (June 1992). "Deep Ecology and the Potters in (sic) Our Planet". Studio Potter. 20: 39–9. Focus on the web of interrelationships in our environment—on the physical, biological, cultural, political, and historical aspects of ecological systems. [44] [45] Weintraub, Linda (2006). Eco-Centric Topics: Pioneering Themes for Eco-Art (PDF). New York: Artnow Publications: Avant Guardians: Textlets in Art and Ecology. ISBN 0977742148 . Retrieved 23 August 2015. [ permanent dead link] Kagan, Sacha (2012). Toward Global (Environ)Mental Change - Transformative Art and Cultures of Sustainability. Berlin: Heinrich Böll Siftung. ISBN 9783869280769. Archived from the original on 2013-12-10 . Retrieved 6 September 2015. Beardsley, John. Earthworks and Beyond: Contemporary Art in the Landscape, Abbeville Press, 1989 and 2008.

Weintraub, Linda (2012). To Life! Eco Art in Pursuit of a Sustainable Planet. Berkeley, California: University of California Press. ISBN 9780520273627. Fournier, Anik; Lim, Michelle; Parmer, Amanda; Wuilfe, Robert (2010). Undercurrents: Experimental Ecosystems in Recent Art. New York; New Haven: Whitney Museum of American Art and Yale University Press. Blankenship, Jana. "The Farm by the Freeway". In Auther, Elissa, and Lerner, Adam, eds. (2012). West of Center: Art and the Counterculture Experiment in America, 1965–1977 . University of Minnesota Press. Land Use Database. "Earth Mound". clui.org. Center for Land Use Interpretation . Retrieved 24 August 2015.At the same time, Smithson began working as a consultant for a New York City engineering firm, a position that inspired him to plan what he called "Aerial Art" for the Dallas Fort Worth airport. Aerial Art comprised monumental works to be constructed between airport runways that were meant to be viewed from above during takeoff and landing. As an art form, Aerial Art never came to fruition, but Smithson and his colleagues, such as Carl Andre, Nancy Holt, Robert Morris, and Michael Heizer, were inspired by the idea to explore various unexploited territories in nearby New Jersey and in various western states that provided large, open spaces. Carruthers, Beth (April 27, 2006). "Mapping the terrain of contemporary ecoart practice and collaboration" (PDF). Art in Ecology - A Think Tank on Arts and Sustainability, Commissioned by the Canada Council for the Arts; the Canadian Commission for UNESCO, the Vancouver Foundation, and the Royal Society for the Encouragement of the Arts. London UK and Vancouver, British Columbia . Retrieved 24 August 2015. Doan, Abigail. "HighWaterLine: Visualizing Climate Change with Artist Eve Moser". The Wild Magazine. {{ cite web}}: Missing or empty |url= ( help)