Martino Coppes creates evocative, landscapelike images by making peculiar assemblages out of discarded bits of white plastic and then carefully photographing them. Suggesting the aftermath of a natural or atomic disaster, these strangely lit pseudo-landscapes, which often incorporate tiny figures, are both synthetic and organic, simultaneously conveying a sense of stasis and continuous, subtle metamorphosis.

Although his photographs are strangely seductive, Coppes doesn’t look for beauty in the bits of discarded plastic he uses; rather, he seems primarily concerned with finding out how completely

Exhibitions of work by Land artists are usually limited by necessity to photographic documentation, drawings, and related projects. However, with Michael Heizer’s ambitious recent exhibition, which contained six site-specific works and was accompanied by a monograph edited by Germano Celant, the Fondazione Prada attempted the impossible: to present the physical grandeur of Heizer’s work within the enclosed rooms of the Fondazione.

Remarkably, they were successful. Two enormous graffitied stone masses, Stele n.1 and Stele n.2 (all works 1996), meter upon meter in size, and ton upon ton in weight,