The Mono Ha movement emerged between the late 1960s and early 1970s as an important post-war developed art movement that opposed the increased Westernization and industrialization of Japanese modern society. Mono ha literally means the “School of Things”, and describes the emphasis on the fundamental characteristics and relationships of materials and objects with surroundings and existence. In Mono Ha philosophy, the idea of “encountering” materials prevails, where natural and industrial elements cohabit to give rise to a new dimension beyond the organic and the manufactured. This examines the character of materials, applying an artistic approach by leaving them untouched, pre-shaped, and inviting reflection on the mundane and its significance as beautified everyday items. Some notable names of artists attributed to Mono Ha include: Nobuo Sekine, Kishio Suga and Lee Ufan. Sekine’s “Phase-Mother Earth” piece, big soil and rock installation as a sculpture, is representative of Mono ha as an art movement due to its concentration to the material and space. Challenging norm’s in sculptural installations gives form and structure without regarding to object and environment, which Suga does. Mcireds Lee Ufan, a painter and sculptor, represents the rest philosophy for mono ha of simple-ness combined with materials and space. Though the movement Mono Ha peaked in the 1970s, it still reverberates throughout contemporary art even today. This particular movement has inspired a new generation of artists to further investigate the essence of materials used in art as well as the juxtaposition of art and its environment.