In 1962, Camilla Gray’s work, The Great Experiment: Russian Art 1863–1922 was published by the prestigious publishing house Thames & Hudson, a work that was widely circulated in the artistic world of the Anglosphere. Some of these avant-garde movements are among the most prominent forebears of what the English philosopher Richard Wollheim called, in 1965, Minimal Art. In this fashion, the abstract, constructivist and suprematist artistic practices that inspired the origins of minimalism, together with cubism, De Stijl, Dada, and Bauhaus, created a favourable breeding ground for the genesis of minimalist practices.
Later, in 1966, the exhibition Primary Structures was held at the Jewish Museum in New York, where historic minimalists: Donald Judd, Carl Andre, Robert Morris, Dan Flavin and Sol LeWitt, achieved great success and, for the first time, displayed, in their respective works, the common traits of minimalism: abstraction, austerity, elementary geometry, monochromatism and, in addition, repetition. Such features of orthodox minimalism were applied in the beginning to three-dimensional compositions but, over time, other artistic categories were adopted and they spread to other geographical areas. After more than half a century, the minimalist criteria remain alive and, in some aspects, have evolved towards more or less heterodox positions, always making use of the essential or, in other words, achieving outstanding artistic results with minimal means.