For an artist whose career spans five decades, Nancy Holt (1938–2014) holds the dubious honor of being known primarily for one work. Holt’s 1973–76 Land art masterpiece Sun Tunnels keeps her linked in collective memory with the movement and its artists, among them her partner Robert Smithson and the couple’s friend Michael Heizer. Yet the stakes of her practice, predicated on reflexive structures that operate in collaboration with their surroundings, stand in contrast to the ethos of Land art itself. As Holt commented presciently in her notes for a self-interview (later revised for the April