Fourth Door Review’s arts focus provides a space for where the green edge meets the landscape of contemporary art. From the first launch issue, Fourth Door Review has been thinking 'outside the frame', creating a cross practice arts forum, which highlights both high profile 'green' arts and those whose work can provide new, at times unexpected, ways into making connections between art, the environment, sustainability and the natural world, both within contemporary art practice and in relation to our other areas featured within FDR.

In FDR8’s Framework digital artist and musician, Jem Finer, is interviewed on moving from the virtual domain into physical art practice. Finer talks about his 1000 year long Longplayer digital sound piece, and his prize-winning Score for a Hole in the Ground piece at Kingswood Sculpture Woods in Kent. An in-depth look at Chris Drury’s last decade of work is the main feature, with Drury discussing his increasing absorption in complexity and chaos theory in relation to both the body and the land. We traverse from Drury’s earlier British medically-informed work to his more recent journeys to Antarctica and the post-Atomic Nevada desert which are part of Drury’s continued sci-art fusion fascinations.

Dalziel + Scullion are at the cutting edge of a new generation of Scottish environmentally aware artists, mixing multi-media with installation art practice for environmental ends. FDR7’s Framework interview feature on the Scottish artists looks at current and recent work. This Framework also features the second part of Fourth Door’s Andy Goldsworthy interview, exploring elements of Goldsworthy’s work less usually dwelt on in mainstream interviews. The Goldsworthy section features, Thomas Riedelsheimer, filmmaker of Rivers and Tides, the Goldsworthy documentary art-house cinema hit.

Frameworkwas launched in FDR6 as a specific arts section, with part one in the special in-depth interview Andy Goldsworthy interview. The feature looks at both Goldsworthy’s ephemeral work and his use of and integration with new media and performance art, including the Haines Gallery web-collaboration; the multimedia performance dance collaborations, Rite du Temps and Vegetal with France's Ballet Atlantique, as well as Goldsworthy's 2003 Moonlit Paths installation in Sussex and the Barbican Time exhibition. FDR6also features exclusive interviews with multimedia performance artists Russell Mills and Cardiff partnership, Artstation. Mills, the uncategorisable post-punk illustrator-painter, talks about both his historical work as Ambientmusic’s artist in residence and his cover work for David Sylvian and Peter Gabriel, amongst others, as well as looking at his recent and contemporary mixed media work including Artbarns, Republic of Thorns (for the Wordsworth Trust) and the Sonic Boom sound art exhibition. The Artstation feature revolves around a residency Artstation members, Anne Hayes and Glenn Davidson undertook at Brighton's Fabrica gallery entitled Pulp, exploring how they married computer modelling to cybernetics to craft through their use of recyclingindustrial paper.

Although earlier FDR’s did not feature a specific arts section, arts coverage has always been part of the reviews focus. FDR5 highlights a specially themed section on contemporary Norwegian art, new media and new music, with a feature on the extraordinary 40,000 square mile sculpture park project Artscape Nordland which embraces the entire Northern Norwegian county or commune of Nordland, originated by Norwegian video artist and painter A K Dolven. There’s also a feature on neighbouring northerly Nordic Tromso ambient musician Biosphere. FDR5 also features art pieces; one by Tracey Warr on the relation of Earth Art to Consciousness and the whole terrain of Consciousness studies. Warr discusses the relation between such seminal earth artists as Robert Smithson, Charles Ross, James Turrell and more recent explorations such as London Fieldworks and Bruce Gilchrist with a variety of contemporary and historical philosophers of consciousness such as David Chalmers Jonathan Shears, Max Velmans and William James. FDR5 also looks at the Textural Space exhibition, by curator, Lesley Millar, featuring work of 13 contemporary Japanese designer textile artists.

FDR4 features photographer, Susan Derges, ranging from discussing both her work as a photographic representation of holistic science to asking questions about the continuation of a nineteenth century photography (photograms) in today’s twenty-first century digital photography culture. FDR4 also contains a themed section on three artists working at the intersection of 'light' media and built environment re-design. Brian Eno’s videos are explored by Kevin Eden; while German holographer, Dieter Jung and Finland’s Helena Hietanen bothdiscuss light and interior built environment’s, the former with holography and the latter with her fiber-optic technolace  making. Lastly FDR4 features Red Earth, the Brighton based avant-environmental performance artists, and their trilogy of ritual collaborative pieces with Javanese artists at different sites within the Sussex landscape.

In FDR 2/3 an in-depth interview with land artist Chris Drury, looking at his work with wooden vortex, kayak and other structures. There’s a feature interview with algorithmic or generative arts Godfather, William Latham, discussing organic form, virtual and embodied sculpting, and the possible green uses of his mutator programme. In FDR1 there is a photo-piece on the land artist Simon English of the artist’s Camomile Swan, grown and mowed from a field of camomile. Alongside this, appearing in Wordwatch, but with arts resonances, is a review of American video-artist Paul Ryan’s, Video Mind, Earth Mind, using video for sensitising humans to ecological systems. Another version of this widening of environmental art categories is the in-depth Re-Read review of Michael Tucker's book Dreaming With Open Eyes, which explores the shamanistic dimension of twentieth century modernist art.