In October 2008, Abdulnasser Gharem, a Saudi conceptual artist, unveiled Sirat—a 129.6” x 180” photograph displaying the ruins of a bridge, which had been devastated just after its construction in 1980 by a flash flood at a considerable loss of life. Gharem added to the power of the piece by showing the bridge heading into a dark abyss and spray-painting on it the word Sirat (“path”), a term with deep cultural and religious significance for Saudis. This type of failure was common and terrified many Saudis, who privately feared that their country’s infrastructure could not address major environmental change. In 2009, only a year after Sirat was shown publicly, Saudis’ concerns about their roads and bridges exploded into public debate following catastrophic Jeddah floods. This paper explores how Gharem and other Saudi creatives have utilized the environment as a frame for their work while expressing the feelings and experiences of their society in ways that politicians, religious elites, and others cannot. Through extensive in-country/online research and interviews with male and female Saudi creatives, it shows how the environment has been a central theme for the country’s contemporary artistic community from its earliest days to today when the movement has won a national and global following. Examples include Ahmed Mater, another leading artist, who in 2016 used his work, Evolution of Man, to bring attention to the environmental protests in Standing Rock, North Dakota, and the January 2020 exhibit in Jeddah sponsored by the Saudi Arts Council entitled “I love You, Urgently,” in which Saudi artists presented works dealing with the environment. This argument builds on the pioneering work of Toby Jones (2010) and Pascal Ménoret (2013) on the environment and urban and economic planning in Saudi Arabia along with Sean Foley (2019) on Saudi artists and their works. In particular, it utilizes Foley’s concept of artists as organic intellectuals capable of voicing mass public opinion while remaining “apolitical.” The paper also explores how and why many Saudi artists, if they are linked directly or indirectly to the country’s state, are widely assumed in the West to be “lesser” artists and dismissed as propagandists. These attitudes have angered many artists, including Muhannad Shono, who told Artnet in January 2020, “I am not part of some propaganda machine.” Rather, this research argues that a focus on the environment, and issues related to it, allows these creatives to publicly explore sensitive issues.