This article is an experience of a kind of excursion through the most significant, in my opinion, stages of the evolution of minimalist poetry from the 1950s to the present day. I will make the first reservation right away: by the term "minimalism" I mean poetics that uses a minimum number of speech units, regardless of the volume of written lines. The usual concept identifies minimalism with short text. I disagree with this, because the miniatures of, say, Feta are difficult to consider as minimal production, although their small volume is a fundamental element for this kind of poetics. And here is the second caveat: minimalist aesthetics is very easily assimilated by other poetic forms, such as verlieb or monostich. This article does not seek a purely theoretical analysis of the phenomenon, crossing borders and moving into other "areas" (or involving different phenomena in one common field) is not the object of my research. Thus, I will not separate the above-mentioned phenomena. For classical aesthetics, minimalism is one of the fundamental ways of expression, but the difference, in my opinion, is that the genre tends, most often, to descriptive, to miniatures and sketches, while minimalism tends to experimentation and independence, openness of the work.