Within environmental art, a crucial distinction can be made between environmental artists who do not consider the possible damage to the environment that their artwork may incur, and those whose intent is to cause no harm to nature. For example, despite its aesthetic merits, the American artist Robert Smithson’s celebrated sculpture Spiral Jetty (1969) inflicted permanent damage upon the landscape he worked with, using a bulldozer to scrape and cut the land, with the spiral itself impinging upon the lake.