The emergence of artificial intelligence (AI) is reshaping numerous facets of human existence. In this chapter, I examine the philosophical implications that AI art generators have for citizens, artists, and professionals engaged in the interface of arts and the environment. Drawing on historical and cross-cultural perspectives, in the first section I examine how early and contemporary technological imaginaries have shaped human perceptions of the environment, focusing on the views of three key thinkers: early twentieth-century Czech science fiction writer Karel Čapek, ancient Taoist Chinese philosopher Zhuangzi, and contemporary Indigenous Potawatomi ethnobotanist and writer Robin Kimmerer. In the second section, I analyze the nineteenth century Hudson River School landscape paintings to explore the unique historical case of intertwinement among landscape painting, environmental aestheticsAesthetics, and conservation. In contrast, AI-generated images, while proficient and expeditious in producing visual contents, often fail to capture these nuanced biocultural interplays between artists, arts, and the environment. This underscores a deeper consideration: artists’ biophysical interaction with the environment or general human biophysical labor encompasses more than mere physical tasks; it embodies pluralistic, evaluative actions embedded in symbolic, cultural, and socio-ecological systems. An examination of the definitions of human labor, which were proposed by Locke, Marx, and Arendt, reveals the necessity of reconceptualizing human labor within the framework of biocultural ethicsEthics. Through this reconceptualization, I see the artists, or even human engagement with the environment in general, as inherent in the creative expression of human existence and artistry. While AI may generate landscape artworks, it risks alienating humans from in-person experiences with the environment, presenting a challenge to professionals in biocultural conservation, arts, education, AI development, philosophy, and policymaking. Despite AI’s potential to simulate and replicate, I claim that artistic expression and human creativity are evoked by biocultural interactions in face-to-face encounters, and therefore arts are produced from an ecological and biocultural imperative, which prompts those at the nexus of the arts and the environment to critically evaluate how AI can be leveraged without compromising the fundamental human need for connection with the natural world.