The inaugural ARoS Triennial, “The Garden—End of Times; Beginning of Times,” opened in Aarhus, 2017’s European Capital of Culture, on the morning that Donald Trump stood in the White House garden and announced his plans to withdraw the US from the Paris Agreement. ARoS’s director, Erlend Høyersten, promises that this exhibition “will thematize man’s coexistence with, and view on, nature … over a period of 400 years.” Such scrutiny is certainly timely. The exhibition is installed across three thematic sections, “The Past” in the ARoS Art Museum; “The Present” in the city’s docklands; and “The Future” on its coastline and forest to the south. “The Past” includes 108 works (predominantly paintings) hung in purpose-built galleries painted dark Victorian green. First up are three of Thomas Struth’s “Paradise” series of C-prints (1999, 2005, 2006) all dense, green thickets, “unconscious places” he’s been photographing since 1998. Then appears a room with three large plinths supporting unattributed backlit images of historic Western gardens, French (Versailles), English (a park in Wiltshire), and American (New York’s Central Park). They’re unsightly and unnecessary pedagogical tools, given how regularly this exhibition strays from the leitmotif of the garden. A subsequent hang of Franz Rösel von Rosenhof’s paintings of …