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.

In his first solo exhibition, at Tsubaki Kindai Gallery, Tokyo, in November 1968, Suga presented Space Transformation (1968) (転移空間), a freestanding structure of red-painted wood that gave the illusion of a stack of boxes collapsing under their own weight.

[3] By 1973, Kishio Suga, Lee Ufan, Nobuo Sekine, and other artists such as Susumu Koshimizu, Katsuro Yoshida, and Kōji Enokura, became collectively known as Mono-ha (literally “School of Things”).

[4] Suga came to articulate his ideas in terms of hōchi (放置, release), an act that highlights the reality of mono (もの, things) and their interdependence with the surrounding jōkyō (状況, situation, context, or expanse).

In 1971, Suga created Law of Situation (状況律), the artist placed ten flat stones in a line on a 20-meter-long pane of glass and floated it on the surface of a lake in Tokiwa Park, Ube City, Yamaguchi Prefecture.

In the State of Equal Dimension (1973) (等間体) is made up of two tall, forked branches that support a length of rope at four points along a corner of the gallery wall; each end of the rope is tied to a rock that rests on the floor.Law of Multitude (1975) (多分律) consisted of an undulating expanse of transparent plastic sheeting laid on some dozens of concrete columns, each one topped by a single stone.In addition to his site-specific installations, Suga also makes smaller assemblages that display on the wall or floor.

Suga variously ties, binds, stacks, cuts, glues, paints, tapes, wedges, leans, peels, nails, screws, carves, bends, and folds these materials into their current forms.