The joke about Al Gore’s An Inconvenient Truth (2006) being a Power Point presentation rather than a documentary may only begin to fathom the crudeness of the aesthetic strategies—or complicity with boardroom vocabulary—required to precipitate what he calls a political “tipping point on climate change.” And yet, at the same time, audiences for contemporary art are likely already inured to pleas for the urgency of acting to avoid impending ecological catastrophe. What kind of meaningful intervention is left, then, to an individual artist—especially one not funded at the level of