What about pulling garlic mustard?

What about pulling garlic mustard?
Photo by SimoneVomFeld, Pixabay

The lingering warm weather earlier this month had brought the garlic mustards back to life and I was happy for the opportunity to get ahead of what is usually one of my first spring chores: pulling them out with that long white taproot intact. I have been pulling garlic mustard for almost 10 years and have observed, over a 15-acre swath of land, not only a decline in the quantity that grows (and is therefore removed), but also a regeneration of native plants in that space.

I took a break recently to watch the Connecticut Invasive Plant Working Group Symposium. It rather turned my world upside down.

The keynote speaker, Bernd Blossey of Cornell University, delivered a bombshell recommendation in his talk “Invasive Plant Management”: that, aside from a stray here and there, it would be better to not to pull garlic mustard at all. His research shows that garlic mustard left alone will, over time, decline in numbers and in plant vigor. This, he posits, is due to negative soil feedback, which is what happens when plants are grown in the same soil year over year. It is the reason why crops are rotated.

I really wanted to pretend that I had never heard this, but my conscience wouldn’t let me. I have made a concerted effort in writing this column to seek out the science behind what I observe in the woods with respect to native and non-native species. And it is difficult to get definitive answers, perhaps because of the variability in environmental conditions and the fact that outcomes are difficult (though not impossible) to measure, especially over long periods of time. There are differences of opinions among experts on best approaches to invasive management.

Doing nothing is always tempting advice. Sadly for my back, I am not sufficiently patient to wait the 10-20 years that Blassey says it takes for the negative soil feedback effect to work on garlic mustard. And there will always be garlic mustard around, as seeds will be spread by animals. In fact, Blassey’s No. 1 recommendation to stop the spread of invasive plants, and to encourage native plant spread, is to install deer fences — simply not practical in my case.

I went back to rewatch the presentation, and listened to the audience questions at the end. And here is where things came into focus: Blassey conceded that his laissez-faire approach to garlic mustard may not be relevant for what he calls the “woodland gardener” but is geared to nature preserves and land trusts.

And so I would adapt his prescription as follows:

— Garlic mustard populations can be reduced but never be fully eradicated unless the area is fenced to keep out deer.

— If you have a large area of garlic mustard and want to try Blassey’s approach, make an effort to fence the area. If it cannot be fenced, you may want to mark the area with flags so you can monitor the size of the area year over year. You should see the garlic mustard lose vigor in the center as it spreads out beyond the initial area.

— Don’t assume that this prescription will work for other species.

— The best method of control is to not allow garlic mustard to proliferate in the first place. This is where pulling it out is most useful. Be sure to pull it before it goes to seed. A hori hori knife or other weeding implement might be helpful to loosen the taproot from the soil so it comes out in one piece and does not disturb the soil too much.

— If you do weed garlic mustard, be thorough in that area and visiting several times, starting from when the ground unfreezes in spring to when it freezes again in winter. The key to success is doing one’s best to halt new seeds from spreading.

— Plant native plants in the woods and tend to them, fencing them if necessary to protect them from deer browse.

Dee Salomon “ungardens” in Litchfield County.

Latest News

In remembrance:
Tim Prentice and the art of making the wind visible
In remembrance: Tim Prentice and the art of making the wind visible
In remembrance: Tim Prentice and the art of making the wind visible

There are artists who make objects, and then there are artists who alter the way we move through the world. Tim Prentice belonged to the latter. The kinetic sculptor, architect and longtime Cornwall resident died in November 2025 at age 95, leaving a legacy of what he called “toys for the wind,” work that did not simply occupy space but activated it, inviting viewers to slow down, look longer and feel more deeply the invisible forces that shape daily life.

Prentice received a master’s degree from the Yale School of Art and Architecture in 1960, where he studied with German-born American artist and educator Josef Albers, taking his course once as an undergraduate and again in graduate school.In “The Air Made Visible,” a 2024 short film by the Vision & Art Project produced by the American Macular Degeneration Fund, a nonprofit organization that documents artists working with vision loss, Prentice spoke of his admiration for Albers’ discipline and his ability to strip away everything but color. He recalled thinking, “If I could do that same thing with motion, I’d have a chance of finding a new form.”

Keep ReadingShow less
Laurie Fendrich and Peter Plagens:
A shared 
life in art 
and love

Laurie Fendrich and Peter Plagens at home in front of one of Plagens’s paintings.

Natalia Zukerman
He taught me jazz, I taught him Mozart.
Laurie Fendrich

For more than four decades, artists Laurie Fendrich and Peter Plagens have built a life together sustained by a shared devotion to painting, writing, teaching, looking, and endless talking about art, about culture, about the world. Their story began in a critique room.

“I came to the Art Institute of Chicago as a visiting instructor doing critiques when Laurie was an MFA candidate,” Plagens recalled.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Strategic partnership unites design, architecture and construction

Hyalite Builders is leading the structural rehabilitation of The Stissing Center in Pine Plains.

Provided

For homeowners overwhelmed by juggling designers, architects and contractors, a new Salisbury-based collaboration is offering a one-team approach from concept to construction. Casa Marcelo Interior Design Studio, based in Salisbury, has joined forces with Charles Matz Architect, led by Charles Matz, AIA RIBA, and Hyalite Builders, led by Matt Soleau. The alliance introduces an integrated design-build model that aims to streamline the sometimes-fragmented process of home renovation and new construction.

“The whole thing is based on integrated services,” said Marcelo, founder of Casa Marcelo. “Normally when clients come to us, they are coming to us for design. But there’s also some architecture and construction that needs to happen eventually. So, I thought, why don’t we just partner with people that we know we can work well with together?”

Keep ReadingShow less
‘The Dark’ turns midwinter into a weeklong arts celebration

Autumn Knight will perform as part of PS21’s “The Dark.”

Provided

This February, PS21: Center for Contemporary Performance in Chatham, New York, will transform the depths of midwinter into a radiant week of cutting-edge art, music, dance, theater and performance with its inaugural winter festival, The Dark. Running Feb. 16–22, the ambitious festival features more than 60 international artists and over 80 performances, making it one of the most expansive cultural events in the region.

Curated to explore winter as a season of extremes — community and solitude, fire and ice, darkness and light — The Dark will take place not only at PS21’s sprawling campus in Chatham, but in theaters, restaurants, libraries, saunas and outdoor spaces across Columbia County. Attendees can warm up between performances with complimentary sauna sessions, glide across a seasonal ice-skating rink or gather around nightly bonfires, making the festival as much a social winter experience as an artistic one.

Keep ReadingShow less
Tanglewood Learning Institute expands year-round programming

Exterior of the Linde Center for Music and Learning.

Mike Meija, courtesy of the BSO

The Tanglewood Learning Institute (TLI), based at Tanglewood, the legendary summer home of the Boston Symphony Orchestra, is celebrating an expanded season of adventurous music and arts education programming, featuring star performers across genres, BSO musicians, and local collaborators.

Launched in the summer of 2019 in conjunction with the opening of the Linde Center for Music and Learning on the Tanglewood campus, TLI now fulfills its founding mission to welcome audiences year-round. The season includes a new jazz series, solo and chamber recitals, a film series, family programs, open rehearsals and master classes led by world-renowned musicians.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.