American sculptor and land artist Robert Smithson made art as a meditation on transition and change. Perhaps best known for his Spiral Jetty, an earthen berm that sits, occasionally submerged, in the Great Salt Lake of northern Utah, Smithson understood that his earthworks would be subject to natural and human forces and processes: erosion, rising water tables, and changing land use. Sabine Gruffat and Bill Brown propose an experimental Super 16mm film that documents Amarillo Ramp, Smithson's final earthwork project, by employing filmmaking procedures that are both responsive to the artwork's environmental context, and informed by Smithson's own artwork and art-making strategies.