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The article discusses the works of artist Richard Long in Europe. It cites Long's "Snowball Track" of late 1964 suggests complex strategies of photographic and landscape art, though the photograph might appear as an unsuccessful holiday snap to naive observers . It mentions that his work titled "A Sculpture in Bristol," which involved digging a trench in the grounds with white plaster and recorded photographically from various directions, teases its viewers with negative volume as the principal and is now in the Tate Gallery collection. Moreover, his work in 1966 titled "Turf in the Circle" is a product of a balance struck between an urge to make durable object and a contrary impulse to reduce outdoor action.

The article discusses the writing on the wall text used in the work of artists Douglas Gordon, Simon Patterson, and Langlands & Bell's Ben Langlands and Nikki Bell in Europe. It notes that Gordon's work often uses ambivalence between the classical and the contemporary world, and dichotomies of good and evil, black and white, and lightness and darkness in his major themes. It states that Patterson has appropriated the vocabulary and metaphors of travel in most of works, which include the Untitled (Sails) in 1996, J.P233 in C.S.O. Blue in 1992, and The Great Bear. Moreover, Langlands & Bell state that they explore the complex of web of relationships linking architecture and people, and the coded systems of circulation and exchange.