Sisters Creasha was sitting alone in her room. It was silence outside, yet she felt that something was wrong it was too quiet. Her older brother, Denis, had always said that too much silence was dangerous even for the hunter. That is what Denis was a bounty hunter. Creasha looked at the paleness of her sleeping twin sister Suzan and thought that it'll be six months soon as mom and dad left the country and their children to the Fate. Well, the reality wasn't so dramatic, since they were politics whom had to travel a lot. Creasha and Suzan weren't small any longer, 16 is almost as good as grown-up! But Denis never thought so; he still cared about his little sisters, as they were babies in his mind. A sudden voice broke the silence Creasha had almost fallen asleep in. Suzan opened
kuitahes pikalt või lühidalt maastiku üles seatud ning seda mõjutavad (Spaid, 2002), kuid mõnes teises käsitluses on või on olnud inglise keelne sõna land art kitsama tähendusega. Maastikukunsti töid tegevad Christo ja Jeanne-Claude ütlevad, et nende teosed ei ole land art, kuna need ei paikne kunagi "metsikus" looduses vaid ainult inimese poolt valmistatud, kujundatud ja muudetud keskkondades (Christo). Sellist suhtumist võib aga pidada kunstnike eksiarvamuseks Suzan Boettgeri uurimusest ,,Earthworks: Art and the Landscape in the Sixties" tuleb välja, et termin earthworks kehtib rangelt võttes varase, 60-te lõpu ja 70-te alguse maastikukunsti kohta. Termin land art võeti kasutusele hiljem ning see on olemuselt laiem kategooria. Earthworks-i teosed ei tohtinud Boettgeri sõnul olla kallilt hinnatud kunstiobjektid, kuigi tegemist oli siiski esteetiliselt väärtuslike teostega, mille valmimist toetasid patroonid. Maastikukunsti ideelised allikad
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