Don’t go for any single work; go for the taxonomy. A survey this size makes visible something you’d never catch one canvas at a time: that ’landscape’ isn’t a subject, it’s a stance — a decision about where to stand and how much to leave out. Ruscha’s deadpan horizontals and Christo’s wrapped interventions and Hartley’s brooding Maine hills aren’t really the same genre; they’re sixty-three different answers to the same spatial problem, and hanging them together turns the wall into a comparative diagram.

For you the architect’s version of the question is unavoidable here. Every one of these is a framing problem before it’s a picture. What gets cropped, what gets centered, where the horizon sits, how much sky you grant — these are the identical moves a section drawing makes, the same decisions about aperture and threshold and what to exclude so the essential thing reads. Maya Lin’s presence in the roster is the tell: land art and the section cut are the same discipline of choosing a datum and framing what falls on either side. Worth an hour uptown to watch sixty-three people solve one spatial problem sixty-three ways. No rush — open through late September.