The current shift from strict opticality to more embodied modes of appreciating art has encountered some resistance, probably because words sometimes lack to express a materiality other than visual. Still, the traditional prominence given to sight in approaching art has been challenged by both artists and researchers, just as vision’s claims to objectivity were gradually being eroded. Because they are presented outside of the gallery, soundwalks will usually make use of a pre-existing environment providing everyday stimuli, to which a specific soundscape is added. The trend for site-specific soundwalks takes its participants out in the open, away from the dedicated spaces for art, and where life goes on without artistic control. With soundscapes or audio-guides, the city, its streets and buildings themselves become the art through aural persuasion. They are seen differently, and even evolve at the same pace as the rapidly changing face of Britain and London more particularly. This means that, rather than focusing on hearing only, they provide a new reading of one’s environment, whether urban or rural, and change the way our bodies relate to it: by encouraging us to walk, they engage smell, touch, and vision of course. Turning to sound actually creates a new visuality, rather than replaces it. By looking at the work of Katrina Palmer, Lavinia Greenlaw, or Susan Philipsz, among others, we wish to explore the possibilities of analysing site-specific soundworks of the turn of the century as environmental works.