The Mono-ha artists explored the encounter between natural and industrial materials, such as stone, steel plates, glass, light bulbs, cotton, sponge, paper, wood, wire, rope, leather, oil, and water, arranging them in mostly unaltered, ephemeral states.

One of his most notable works is Untitled (1970), a triangular structure of slashed leather placed on the floor in the corner, which highlights the relationship of the adjacent walls as much as the texture of its own surface.

In a similar vein, for the Paris Youth Biennale in 1971, he constructed Wall, a three-meter-tall and five-meter-wide concrete partition between two trees in the Parc Floral.

It attests to the consciousness I have of my own existence.” By 1973, Kōji Enokura, Kishio Suga, Lee Ufan, Nobuo Sekine, and other artists such as Susumu Koshimizu, and Katsuro Yoshida became collectively known as Mono-ha (literally “School of Things”).

Some works from this period feature shelves that support glass bottles filled with sand and water, or in one unusual case a potted plant.

Enokura also created numerous works consisting of fabric in single or double layers hung diagonally on the wall and folding out onto the floor.

His work has received renewed attention in the United States following his inclusion in Requiem for the Sun: The Art of Mono-ha, at Blum & Poe, Los Angeles, in February 2012.