Katsushika Hokusai's 1829 woodblock print, Under Wave off Kanagawa, is world's most iconic portrait of ocean waves. It has been reproduced, quoted, and repurposed over last two centuries in a widening circle of representations of unruly, powerful sea. Today's reimaginings of this storied Japanese image often remark upon dangerous, damaged state of contemporary ocean. Such commentaries sometimes refer directly to 2011 tsunami and to its associated Fukushima nuclear power plant disaster. But adaptations of Hokusai's Wave these days also increasingly point to more general anxieties about catastrophic climate change and to worries about ocean pollution, acidification, and plastification. In such usages, Wave operates as a synecdoche for, a symbolic capture of, difficult-to-apprehend vastness of ever-moving, interconnecting, and possibly threatening sea. 1 Hokusai's image has thus lately been leveraged into commentaries upon Anthropocene—a provocative, and, so far, unofficial, geological term that postulates that humans (anthropos) have come to have significant deleterious effects on planetary ecosystems, effects that can be identified not only in stratigraphic record, but also in body of Earth's ocean. 2 If Under Wave at Kanagawa (also The Great Wave off Kanagawa or, simply, The Great Wave) in its early circulations emblematized historical relation of Japan to sea and to transnational connections sea afforded, re-imaginings today adapt image to speak to contemporary human-generated global oceanic crisis. Such reimaginings of Great Wave do so, significantly, by drawing attention to materials of which such critical artworks are nowadays frequently made: plastic, trash, and other sea-borne detritus—the flotsam and jetsam of a sea damaged by deleterious geo- historical practices of (some) humans. Heather Davis and Etienne Turpin in Art in Anthropocene: Encounters Among Aesthetics, Politics, Environments, and Epistemologies argue that the Anthropocene is primarily a sensorial phenomenon: experience of living in an increasingly diminished and toxic world. 3 Contemporary revisions of Hokusai's Wave do indeed operate in realm of sensorially unsettling—although, perhaps contrary to Davis and Turpin's argument, they do so precisely by bringing into experience that which might otherwise be far away or beyond everyday apprehension and scale (e.g., islands of swirling ocean trash in far middle of Pacific). Such works also, through garbage they incorporate, call into question