Formalism in Land Art emphasizes the inherent qualities of the materials used, the relationship between the artwork and its surroundings, and the overall form and structure of the artwork.

Robert Smithson is often credited with being one of the first artists to explore the concepts of Formalism in Land Art, particularly through his iconic work 'Spiral Jetty' (1970).

Site-specificity is a key aspect of Formalist Land Art, as it allows artists to explore the relationship between art and its environment, challenge traditional notions of art, and create works that are responsive to the unique characteristics of a particular location.

Formalism in Land Art challenges traditional notions of art by emphasizing the importance of the artwork's form and structure, using natural materials and elements as the primary medium, and creating works that are often large-scale and ephemeral.

The primary goal of Formalist Land Art is to explore the relationship between art and nature, often through the use of natural materials and elements and the creation of works that are site-specific.

Michael Heizer's 'Double Negative' (1969-1970) is an example of Formalist Land Art, as it is a large-scale earthwork that emphasizes the relationship between art and nature and challenges traditional notions of art.

Formalism in Land Art addresses the issue of environmental sustainability by using natural materials and elements that are biodegradable and have minimal impact on the environment, creating works that are ephemeral and do not leave a permanent mark on the landscape, and raising awareness about environmental issues and encouraging viewers to consider their relationship with the natural world.

In Formalist Land Art, the viewer is encouraged to actively engage with the artwork, explore its relationship with the environment, interpret the artwork and derive their own meaning from it, and appreciate its aesthetic qualities.

Formalism in Land Art contributes to the broader discourse on art and nature by challenging traditional notions of art and its relationship to nature, exploring the interconnectedness of art and the natural world, and raising awareness about environmental issues and the impact of human activity on the planet.

Andy Warhol is not associated with Formalism in Land Art, as his work primarily focused on Pop Art and consumer culture.

Scale is significant in Formalist Land Art as it allows artists to create works that are immersive and awe-inspiring, challenge traditional notions of scale and proportion in art, and emphasize the relationship between the artwork and its environment.

Formalism in Land Art addresses the issue of permanence and ephemerality by using natural materials that are subject to change and decay, creating works that are intentionally ephemeral and impermanent, and exploring the concept of time and its relationship to art.

Nancy Holt's 'Sun Tunnels' (1973-1976) addresses environmental issues by using natural materials and elements, exploring the relationship between art and nature, and raising awareness about the impact of human activity on the environment.

Formalism in Land Art challenges traditional notions of ownership and commodification of art by creating works that are often site-specific and cannot be easily bought or sold, using natural materials that are not traditionally considered valuable, and emphasizing the importance of the artwork's relationship to its environment rather than its monetary value.

Formalism in Land Art has left a significant legacy, influencing the development of contemporary art practices that engage with the environment, raising awareness about environmental issues and the importance of preserving natural landscapes, and challenging traditional notions of art and its relationship to nature.