Michael Sailstorfer is not the first artist to upend a tree; no doubt, he won’t be the last. Georg Baselitz inverted pictorial tradition in his iconic Der Wald auf dem Kopf (The Forest on Its Head), 1969; Rodney Graham’s photographic series “Oxfordshire Oaks,” 1990, depicts singular oaks in reverse, as they are actually received by the eye (and analog camera); Natalie Jeremijenko’s live, upturned trees, suspended in the air, perversely twist into seemingly unnatural forms in a vain attempt to right themselves in Tree Logic, 1999. Together, these constitute an offbeat iconography amid which one