In my research, I aim to critique the motives of artists’ use of landscape as a medium during the 1960’s Land Art Movement. Examining several works through an ecosemiotic lens, we see that Land Art can signify the relationship a modern human has to the Earth. While often inevitably symptomatic of the Western ideology from which it was born, many works of Land Art mimic Animistic monuments and practices. The question is whether the work is successful in its attempt to reestablish human attention and connection to the natural world, or if it is an expression of empty spirituality. In a time of increasing environmental crisis, it is important to examine whether a human mark on the land is disruptive or replenishing.