怀着对工业文明的反思，大地艺术家将创作空间从室内带到了室外、从城市转到了荒野，寻求精神上的复归自然。由于大地艺术的在地性可以与当地的生态状况、社会结构进行有效的融合，所以后来常常被用于重构城市之外的艺术空间。根据其发展过程展现出的不同特征，总体可以分为三种模式。第一种模式是始于20世纪60年代的欧美大地艺术，以罗伯特·史密森、迈克·海泽等人为代表的艺术家在创作的过程中运用风、土、雷、水、火等元素以及巨大的尺幅试图对艺术与自然的关系进行表达；第二种则是进入到21世纪后以日本出现的“大地艺术节”，与欧美相比其较为明显的变化是其创作的目的由最初的“反叛”转向了促进区域发展，以“越后妻有”地区为代表的空心化乡村恢复建设运动中大量地应用了大地艺术的创作理念，特别是在环境治理与文化建设方面，大地艺术发挥出了前所未有的价值；第三种模式是近年来在中国展开的大地艺术相关创作与艺术实践，既有像董书兵、王刚等艺术家所展开的个人创作，也有像关中忙罢艺术节、懒坝大地艺术节等带着明确目标的群体性创作，中国的大地艺术正在逐渐走出一条本土化发展的路线，这也使大地艺术的内容与定义也在不断地发展变化。从某种意义上来说，上述三种模式也反映出大地艺术在不同地区被用来艺术创作和空间重构的差异性，以及在不同社会发展阶段中呈现出的策略性。 进入21世纪后，与中国城市化速度加快相伴的是，大量的荒野和乡村等待开发利用，特别是“乡村振兴”战略的提出后为大地艺术的发展提供了更好的机遇。然而我们也应该清醒地认识到，中国的大地艺术发展方向，并不能照本宣科地将当代艺术品强行植入自然环境，也不能将城市艺术简单地平移到农村，这样做结果不但不会形成“艺术生态”，反而会成为“艺术破坏”。这就要求中国展开的大地艺术实践要时刻保持自省，在持续性上进行长远的考量。可以预见的是，在当今中国特色社会主义现代化建设的过程中，大地艺术这种将环境作为先导的艺术形式必将展现出更多的可能性。
With the reflection on industrial civilization, Land Art artists shifted their working place from indoor to outdoor, from the city to the wilderness, and seeking for the return to the nature. Since the nature of Land Art can be effectively integrated with the local ecological conditions and social structure, it is often used to reconstruct the art space outside the city nowadays. According to the different characteristics of its development process, it can be divided into three modes. The first model is the European and American Land Art, which began in the 1960s and 1970s. Artists represented by Robert Smithson, Christos, etc. They tried to express the relationship between art and nature by using elements such as wind, earth, thunder, water, fire and a huge scale in the process of art creation; The second mode is the rural "Land Art Festival" created by Japan at the beginning of 21st century. Compared with Europe and the United States, the obvious change in this area is that the purpose of its creation has shifted from the "rebellion" to a more comprehensive field application. In the hollow rural restoration and construction movement represented by Japan's Echigo-Tsumari area, the creative concept of earth art has been widely used, especially in environmental governance and cultural construction, earth art has played a remarkable role. Therefore, Japan has gradually formed a "Land Art Festival" model; The third mode is the creation and artistic practice of Land Art in China. In recent years, there are not only individual creations by artists such as Wang Gang and Dong Shubing, but also group creations with clear goals such as"Guanzhong Harvest Art Festival", "Langba Land Art Festival". Chinese land art is gradually going out of their own way which make content and definition of Land Art are also constantly developing, changing and enriching. In the 21st century, accompanied by the acceleration of urbanization in China, a large number of wilderness and villages are waiting for development and utilization. Especially the strategy of "Rural Revitalization" provide a better opportunity for the development and practice of land art. However, we should also be soberly aware that China's land art development direction cannot forcibly implant contemporary art into the natural environment, nor simply transfer urban art to the countryside. This will not form an "artistic ecology", but will become "artistic destruction". This requires that the practice of earth art in China should always keep introspecting and considering the long-term sustainability. It can be predicted that in the process of socialist modernization with Chinese characteristics, land art which takes the environment as the first will show more possibilities. In a nutshell, the above three models also reflect the differences in the artistic creation and spatial reconstruction of Land Art in different regions, as well as the strategies in different stages of social development.
