Monet's paintings of wealthy Parisians frolicking in the French suburb of Argenteuil became interesting to me as something more than very pretty objects when I learned about their ideological underpinnings-how Monet carefully excised the visible effects of rapid industrialization from his compositions, presenting his own version of the kind of idyllic landscape that no longer existed. Landscapes After Ruskin: Redefining the Sublime, the current exhibition at NYU's Grey Art Gallery, pulls a similar trick by reminding us that while depicting landscapes may seem straightforward, event quaint at times, they are subject to the same manipulation and subjectivity as any kind of art, even if they're painted en plein air. The show combines a wide variety of media, including painting, collage, sculpture, installation, video, photography, and drawings, of landscapes and settings both artificial and natural-in the sense that they take place in nature, not that they are necessarily true-to-life depictions of anything-from the urbanized to the rural and everything in between.