Arts 2026, 15(6), 139; https://doi.org/10.3390/arts15060139 (registering DOI) - 12 Jun 2026
Abstract
The Singaporean government’s Green Plan 2030 aims to “galvanize a whole-of-nation movement and advance [its] national agenda on sustainable development,” transforming the Garden City into a City in Nature. The state’s #OneMillionTrees campaign, which intends to plant a million trees over a decade,
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The Singaporean government’s Green Plan 2030 aims to “galvanize a whole-of-nation movement and advance [its] national agenda on sustainable development,” transforming the Garden City into a City in Nature. The state’s #OneMillionTrees campaign, which intends to plant a million trees over a decade, seems less focused on climate adaptation, given Singapore’s unresolved environmental issues such as oil refinement, terraforming, and hyperconsumption. Instead, it appears to superficially address deeper socioenvironmental wounds inflicted on the postcolonial people and land. In this article, I explore the visual culture of Singapore’s ableist-nationalist greening campaigns alongside artworks such as Marvin Tang’s A Guide to Tree Planting and History of 39 Cuttings—Hybrids, and Woong Soak Teng’s Ways to Tie Trees and Rules for Photographing a Scoliotic Patient. I argue that Tang and Woong highlight adaptation issues in the face of eco-ableist sustainability in Singapore, challenging simplistic notions of climate adaptation by attending to vulnerable, sexed and gendered more-than-human bodies. The field of art history has an opportunity to probe ableist visions of ecological sustainability—within an emerging discourse between environmental justice and disability studies—by historicizing and interpreting such art, as it speaks to enduring, more-than-human impairment and climate adaptation.
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(This article belongs to the Special Issue Rethinking Art History and Culture: Defining an Ecological Approach)
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