The author explores the question of which spatial and locational concepts emerged in the 1990s following a critical re-examination of site specificity in art. In this context, the concept of Ambient proves to be a key phenomenon. Originally developed for music, the concept of Ambient is characterized by the construction of a temporary, processual space. This is created on one hand through artistic production processes that intervene in existing architectural and landscape spaces. On the other hand, Ambient is based on collective practices. Sabine Gebhardt Fink explains how the site-specific art of the 1960s was further developed. She describes specific forms of immersive aesthetic experience and highlights the influence of the spatial concept of Ambient Music and Ambient Sound, using artistic projects by Ricardo Basbaum and Janet Cardiff as examples.