“Part pop philosophy and part aesthetic, minimalism presents a cure-all for a certain sense of capitalist overindulgence”

Despite its connotations of absence, “minimalism” has been popping up everywhere lately, like a bright algae bloom in the murk of postrecession America. From tiny houses to microapartments to monochromatic clothing to interior-decorating trends — picture white walls interrupted only by succulents — less now goes further than ever. It’s easy to feel overwhelmed by the minimalism glut, as the word can be applied to just about anything. The nearly four million images tagged #minimalism on Instagram include white sneakers, clouds, the works of Mondrian, neon signs, crumbling brick walls and grassy fields. So long as it’s stylishly austere, it seems, it’s minimalist.

Part pop philosophy and part aesthetic, minimalism presents a cure-all for a certain sense of capitalist overindulgence. Maybe we have a hangover from pre-recession excess — McMansions, S.U.V.s, neon cocktails, fusion cuisine — and minimalism is the salutary tonic. Or perhaps it’s a method of coping with recession-induced austerity, a collective spiritual and cultural cleanse because we’ve been forced to consume less anyway. But as an outgrowth of a peculiarly American (that is to say, paradoxical and self-defeating) brand of Puritanical asceticism, this new minimalist lifestyle always seems to end in enabling new modes of consumption, a veritable excess of less. It’s not really minimal at all.

Kyle Chayka, “Austerity Measures”, The New York Times Magazine (31 July 2016), 14.