This essay examines the National Art Gallery of Canada as a pivotal site for exploring how art, environmental geography, and national identity intersect and evolve. Grounded in theoretical insights from the geographical imagination, the study draws upon scholars such as Doreen Massey and Yi-Fu Tuan to reveal how places and landscapes are not merely physical terrains but complex cultural constructs. Methodologically, it employs a qualitative, interpretive approach, combining visual analysis of artworks and discourse analysis of museum texts and curatorial narratives. Iconic works by the Group of Seven and Emily Carr are analyzed to illustrate how early twentieth-century visions of the Canadian wilderness have shaped lasting perceptions of nature. These historical representations are then contrasted with contemporary artworks addressing issues of climate change, Indigenous land rights, and resource extraction, thereby spotlighting an ongoing dialogue between past and present. In emphasizing a teaching philosophy that integrates art with socio-environmental critiques, the essay underlines how artworks can deepen students’ engagement with the cultural and political dimensions of Canada’s landscapes. Ultimately, the National Gallery emerges not only as a repository of visual heritage but also as a catalyst for critical reflection on the ‘voluminous void’ often imagined in Canadian landscapes - urging viewers to reconsider colonialism, Indigenous presence, and our collective relationship with the environment.