In the context of a Philosophy of Education that sees subjectivation as the core of its research, this contribution aims to enlighten the educational value that lies in the artistic practice, considering it a device of subjectivation. From an analytical point of view, the pedagogical perspective plays its role by the ethical and aesthetical possibilities given to the subject in “retrospectively” reinterpreting its own “endowment”. From the hermeneutic perspective, assuming all the implicit valence of the notion of “projection” (Entwurf), poiesis becomes a way of illuminating truth, which lies in the sense of the transience of existence, without denying or anaesthetising it. Recalling the ethical-aesthetic sphere of Lacanian matrix, and placing at its side the ecological perspective from the Heideggerian work about the struggle between the Earth and the World as a practice of concealment/disclosure that Art synthesises, the contribution offers a further glance at the dialogue between art and ecology by proposing a project born from the Xylella emergency and the need to use land art as a pedagogical and awareness-raising tool. Another piece in the mosaic of new practices of “care” through the medium of art, starting from a community-art experience that reconfigures the signifier “Museum” understood as the product of a cultural discourse, in the dialectic between subject and institution.