In this article the possible principle of typologization of one of the main trends of modern art of the 1950s-1960s, minimalism, is considered for the first time. The basis of this principle is the relationship between structure and material. In accordance with this approach, minimalism can be divided into the conceptual (the material principle tends to disappear), the technical (the material is subordinated to the structure) and the material, the physical, the corporeal (the material dominates the structure). This approach is considered throughout the history of minimalism from Ellsworth Kelly to Eva Hesse. The novelty of the approach lies in the choice of the very principle of typologization: in the opposition of structure as a speculative concept to a material with oppositely directed - anti-structural - properties (a kind of ability to resist); in a broader context - the mind and the natural principle as philosophical categories. Their interrelationships, which change in the course of evolution, can be vi