Uncomfortable ironies abound in Canadian artist Edward Burtynsky’s large color photographs of ravaged natural terrain. Burtynsky’s subjects have consistently been landscapes in which the process of industrialization has resulted in spectacles that dwarf the likes of Michael Heizer’s sprawling City, 1970–99. Burtynsky’s work is undeniably gorgeous yet maintains connections to the documentary. It is also invested with a sense of adventure and achievement: The photography of dangerous places tends to necessitate the negotiation of corporate bureaucracy as well as some tricky outdoor navigation.