Visiting New York’s City Reliquary is like walking into one of artist Joseph Cornell’s boxes—every surface inside the three-room museum is meticulously adorned with artifacts and salvaged ephemera. Display cases are crammed with items (with drawers below holding even more), the walls are covered to the ceiling, and the dim lighting enhances the sense of being immersed in a contemporary take on a cabinet of curiosities.

The current exhibition focuses on one type of relic that can be found in particular abundance: those found in the trash. NYC Trash! Past, Present, & Future, on view through April 29, 2018, begins with the history of solid waste management in New York City, and then shifts gears to look at innovative ways waste materials and management are being reconsidered today.

The seven artists and nonprofits highlighted, including Hack:Trash:NYC, the Lower East Side Ecology Center, and Materials for the Arts, employ a variety of tactics and media to transform how waste is viewed and dealt with, from competitions to find ways to reduce what gets sent to landfills to photography and art initiatives that use waste materials as a medium or as inspiration.

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This weekend, the People’s Climate March took place in Washington, D.C., with more than 350 satellite events across the country. Despite being the hottest April 29 on record, thousands attended (more than 200,000 people marched, according to organizers’ estimates), including a number of ASLA Chapter Presidents, Trustees, past Presidents, members, and ASLA staff.

Below, we share some photographs from the march—more can be found on ASLA‘s and Landscape Architecture Magazine‘s social media pages—and we look forward to keeping up the momentum on this urgent and vitally important issue.

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Earlier this month on March 12, visitors to the National Building Museum in Washington, DC were greeted by an usual sight in the museum’s monumental Great Hall: a life-size plan of a garden, being artfully arranged and re-arranged by visitors of all ages.

Even more impressive was the view from the second story, which provided a better sense of the overall plan from above, and how it relates to the experience of walking the space down below. By bringing a plan drawing to life and making it interactive, the event gave participants a chance to experience and understand more fully how the plan drawings landscape architects create translate into actual spaces—a chance to bridge the gap between 2D and 3D.

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The speaker at a recent event at the Renwick Gallery in Washington, DC, was not an artist, curator, or art historian, but an arborist. Gregory Huse, Arborist and Tree Collection Manager for the Smithsonian Gardens, focused on John Grade’s Middle Fork installation in his talk, entitled “The Crossroads of Art, Nature and Ecology.” The piece consists of a tree, suspended sideways from the ceiling. Taking up the entire room, the sculpture is simultaneously massive and airy, moving slightly as visitors walk around it and shot through with light, evoking the dappled look of sunlight filtered through a forest’s leaves.

The Renwick Gallery, part of the Smithsonian American Art Museum, reopened in November after an extensive two-year renovation with the exhibition WONDER. Middle Fork, in addition to installations by Maya Lin, Patrick Dougherty, and Janet Echelman, is one of the nine pieces included in this exhibition, which has drawn record crowds.

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