Xu Bing’s works have been known for their inventive coinage of language as well as their speculation on Chinese culture and human civilization. And yet, over the course of his artistic career, “nature” is an important aspect not to be neglected. Take the representative series, Background Stories, as an example. In this series, Xu Bing uses recycled materials at hand— fishnets, hemp-fibers, deadwoods, bricks, and other “wastes and disposables”, assembling them before putting them in projected lighting. Seen from the front, the series presents an array of unique images characteristic of ink wash paintings. Xu Bing resorts to a marked contrast between “front” and “back” to foreground differences of nature/civilization and tradition/modern, an approach which might seem still yoked to a binary opposition of value system. However, the ways he employs elements of nature and the concepts he intends to convey in his works offer much room for investigating and analyzing how humans respond to and deal with nature in recent development of urban civilization. Front and back, tradition and modern, nature and civilization, the divine and the human, dissembling and assembling, dismantling and reconstructing—these binary concepts are reversed sometimes, permeated at other times, and contradicted at still other times to open up the possibility for multiple dialogues. This paper focuses on elements of nature (including the flora and fauna) in Xu Bing’s works. It begins with observing works which feature the animals, such as A Case Study of Transference and Cultural Animals, and moves on to analyze the green concerns expressed in works like Background Stories and The Forest Project (Mu‧Lin‧Sen). In so doing, this paper deepens inquiries into the significance of natural elements in Xu Bing’s works and reflects on how they present interactive models between man and nature.