From the beginning of the 1970s, Enokura stained paper, cloth, felt, and leather with oil and grease.
He also discolored the floors and walls of galleries and outdoor spaces.
These installations are no longer extant but are documented in photographs.
In 1970, Enokura exhibited in Tokyo Biennale ’70 – Between Man and Matter, with Jiro Takamatsu and Susumu Koshimizu.
World-renowned artists such as Richard Serra, Jannis Kounellis, Luciano Fabro, Christo and Bruce Nauman also exhibited.
There he presented Place (1970), stacks of rough straw paper piled in different heights and soaked with oil.


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.
This work—for which he was awarded a scholarship that allowed him to live in Paris from 1973 to 1974—has been an enduring icon of his practice.

Through interventions such as these, he sought to affirm his own place in the world.
In his writings he stated, “It is the tension between the body and the material that interests me, and that’s what I want to explore.
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”).
From the beginning of the 1970s, Enokura stained paper, cloth, felt, and leather with oil and grease. He also discolored the floors and walls of galleries and outdoor spaces. These installations are no longer extant but are documented in photographs. In 1970, Enokura exhibited in Tokyo Biennale ’70 – Between Man and Matter, with Jiro Takamatsu and Susumu Koshimizu. World-renowned artists such as Richard Serra, Jannis Kounellis, Luciano Fabro, Christo and Bruce Nauman also exhibited. There he presented Place (1970), stacks of rough straw paper piled in different heights and soaked with oil.

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. This work—for which he was awarded a scholarship that allowed him to live in Paris from 1973 to 1974—has been an enduring icon of his practice.
Through interventions such as these, he sought to affirm his own place in the world. In his writings he stated, “It is the tension between the body and the material that interests me, and that’s what I want to explore. 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”).
Koji Enokura