This thesis examines how the exhibition I et tyndt hus at Ifö Center in Bromölla articulates relationships between human, nature, and industry within a post-industrial context. Through an analysis of three artworks, the study explores how materiality, spatiality, and site-specific conditions generate ecological meanings without relying on explicit representations of environmental crisis. The theoretical framework draws on critical perspectives on the Anthropocene in dialogue with concepts such as posthumanism, and ecological art history. The analysis shows that ecological concerns in I et tyndt hus  emerge through subtle strategies, bodily associations, and the activation of the site´s industrial history. The former ceramic factory functions as an active participant in the artworks, shaping their meanings through geological and industrial layers. The study argues that ecological art history offers a productive framework for analysing site-specific contemporary art grounded in material and place-based relations.