At the last Documenta, in 1998, Lois Weinberger planted a variety of weeds near the abandoned railroad tracks in Kassel. Several years before, at the Salzburg festival, he broke open a section of asphalt on the street and left nettles, bindweed, and other plants to grow wild there. In Tokyo, he imported his own adaptable “wild plants” to the Watari-Um museum’s roof garden. Is this garden art? That would be too simple a reading. His theme is not botany but the activation of events in marginalized areas. Whether he deploys weeds or plastic bags filled with concrete (as in 1991 for the 21st Bienal