The work of Hamish Fulton has been described as originating from “the experience gained during walks made in the landscape,” as “travelling toward a kind of primal self that perhaps only exists in nature as a pure non-judgemental, non-theoretical force,” and as reflecting a relationship to nature that is “one of deep, almost religious respect.” To consign two decades of the artist’s work to this sort of mystification strikes me as patently wrongheaded: such claims evade both the origin of Fulton’s work in Conceptual art and the continued importance of the issues raised by the movement to an