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The article focuses on two environmental art woks by American artist Karen McCoy at the Tranekaer International Centre for Art and Nature (TICKON) in Langeland, Denmark. The two structures were thatched with reeds collected in the immediate vicinity and built in a manner that honours local building practice. One is located at the edge of a lake, while the other is on a hilltop.

The article features the environmental art work, Bone Tapestry, by Bror Westman at the Tranekaer International Art and Nature Center (TICKON) in Langeland, Denmark. According to Westman, one of the most interesting part in doing this piece was the involvement from all the schools and kindergartens in Langeland who helped him find many bones needed for his piece.

The article features the environmental art works of Nils Udo at the Tranekaer International Art and Nature Center (TICKON) in Langeland, Denmark. It discusses nature as the theme of his works. Udo says that as a realist, he only need to grasp the nature and redeem them from their anonymity. Moreover, it reveals the characteristics of nature, the appropriate possibilities it offer and the character of the site itself that largely determined the shape of his work.

The article features the environmental art work, Maze of the Great Oak of Denmark within Stone Ship, by Alan Sonfist at the Tranekaer International Art and Nature Center (TICKON) in Langeland, Denmark. It is an art in which oak leaves were formed, placed in stones, and surrounded by a stone ship. It discusses the symbolism used in the masterpiece in relation with Sonfist's standards for making art.

The article features the environmental art work Sheep Spaces by David Nash at the Tranekaer International Art and Nature Center (TICKON) in Langeland, Denmark. With the collaborative effort of Nash and his colleagues, the creation of the environmental art work became successful. The work is designed to give sheep a shelter, protection and a place to rest. It showcases also the remarkable skills of Nash as a sculptor and a collaborative worker.

The article features the environmental art Aeolian Harp by Giuliano Mauri. The 15 metre structure of the harp has spiral sequence of coins made in 2,000 maple trees, and has a free base and used materials such as steel wire and nails. The harmonious sound of the harp was created with the help of the north wind. Images of the Aeolian Harp are also presented.

The article reflects on the first day of environmental artist Andy Goldsworthy at Tranekaer International Centre for Art and Nature (TICKON) in Tranekaer Castle Park, Langeland, Denmark. At first, Goldsworthy had no idea of what he is going to do. A few hours after his arrival, he then took his photography equipment and placed it in the middle of the driveway to the castle and waited for the rain to pour.

The article explores the environmental art work, Covered Cairn, by Chris Drury. According to Drury, his work points to inner nature. It was built in a marsh area and is made by pushing alternate hazel and willow wands into the ground. Details on how he built the structure are also provided in the article.

The article focuses on artist Jussi Heikkilä's motive for making the outdoor sculpture Migration Avium. He started his art work by collecting information on birds. He cited that it was an interesting starting point knowing Hans Mortensen, Danish school master, started organizing modern bird-marking in 1899, in Viborg, Denmark.

The article features the environmental art work Textus by Swedish art Lars Vilks at the Tranekaer International Art and Nature Center (TICKON) in Langeland, Denmark. The structure is made out of both large and small branches of wood, and was made beginning of June 1993. Details on how he built it are also considered.

The article features the creation of a beehive by environmental artist Jan Norman at the Tranekaer International Art and Nature Center (TICKON) in Langeland, Denmark. With the help of local community and bee specialists, the installation of the five-metre high beehive became successful. Norman chose his materials including the choice of special plants to be sown under the hive to attract the bees.

The article explores the outdoor sculpture, Lavender Passage, by Jane Balsgaard. It is stated that the art work was in many ways a problematic structure. More than 1,000 lavenders had to be planted on the inclining interior sides to strengthen the structure which is built of pine and maple. Moreover, special nets had to be installed inside the structure inorder to keep the earth from eroding.