The Rise of Minimalism
Minimalism  emerged in the 1960s as a direct reaction against Abstract  Expressionism, which had dominated the previous decade. Artists who laid  the foundations of Minimalism were of the opinion that art had become  overly indulgent, and they sought to strip art down to its barest essentials.  The result was a cube here, or a touch of color there. A simple light. A  few straight lines. Anything as long as it represented the simplest  components of the world.
As Minimalist forebearer Ad Reinhardt  (who actually fell in with the Abstract Expressionists, though his work  had a recognizably Minimalist flavor) put it, "The more stuff in it, the  busier the work of art, the worse it is. More is less. Less is more.”
Minimalist artists were more interested in the beauty of simplicity. It is what it is, each work seemed to imply. And viewers could enjoy it for being exactly that and nothing more. 
The  early artists to experiment with this new concept eschewed the term  Minimalism, and in fact abhorred the creation of a “movement”  altogether. Their whole intention was to remove the decadence that had  become prevalent in art, and to eliminate the distance between the  viewer and the art by cutting out meaning and high-brow ideas. 
Instead, Minimalist artists were more interested in the beauty of simplicity. It is what it is, each work seemed to imply. And viewers could enjoy it for being exactly that and nothing more. 
Minimalism  really caught on when the realms of fashion, design, and theater  realized its value. Suddenly its aesthetic became common in what we  wore, where we worked, in our entertainment, and in our homes.