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On two occasions in the late 2000s, Greenpeace asked artist Spencer Tunick to tackle public opinion and political decision-makers concerning the fatal consequences of climate change. Both performances, first at the Aletsch glacier in Switzerland, and then in a French vineyard, involved the device for which the artist became famous: hundreds of volunteers, men and women, posing naked. From volunteer narratives, the pictures taken throughout the events, and their communication campaigns, this article aims to consider the contribution made by these human gatherings to the public debate on environmental issues. First, it studies the esthetic rhetoric of naked bodies as a symbol of vulnerability, and demonstrates the role of physical and psychological commitment in these artistic, activist installations. Finally, it positions these performances within the Greenpeace communication strategy, which uses images as proof of environmental damage and a means to raise awareness.