Artworks by Yayoi Kusama

Body Festival Towel by Yayoi Kusama

41 x 115cm each
Red and Yellow

Balloon Mascot by Yayoi Kusama

5 x 10 x 5cm each
Artificial Leather
Red and White

Pound of Repose Bottle by Yayoi Kusama

22 x 7cm
Capacity: 500ml
Stainless Steel

Louis Vitton Coffret Monogram by Yayoi Kusama

12 x 35 x 20cm
8 montres

Louis Vuitton Bag Alma BB by Yayoi Kusama

17.5 x 23.6 x 11.4cm

Green Pumpkin 2000 by Yayoi Kusama

22.7 x 15.8cm
Acrylic on canvas

Red Pumpkin Pillow by Yayoi Kusama

Big: 55 x 35cm
Small: 25 x 15cm

Yellow Pumpkin Pillow by Yayoi Kusama

Big: 55 x 35cm
Small: 25 x 15cm

Black Dots Skateboards by Yayoi Kusama

78 x 20cm
7-ply Maple Wood

Pumpkin by Yayoi Kusama

10cm height

A Pumpkin RB-B by Yayoi Kusama

24 x 28.5 cm
Edition: 80

Fruits 1997 by Yayoi Kusama

23 x 33 cm
Silkscreen Print
Edition: 125

Pumpkin 1984 by Yayoi Kusama

30 x 40 cm

Self-Portrait by Yayoi Kusama

52 x 61 cm
Silkscreen Print
Edition: 100

Flowers by Yayoi Kusama

46 x 52 cm
Silkscreen Print
Edition: 100

Dress by Yayoi Kusama

65 x 55 cm
Silkscreen Print
Edition: 70

Eternal Love by Yayoi Kusama

40 x 40 cm
Silkscreen Print
Edition: 100

Flying Eyes by Yayoi Kusama

76 x 56 cm
Silkscreen Print
Edition: 120

Women by Yayoi Kusama

76 x 56 cm
Silkscreen Print
Edition: 120

Village by Yayoi Kusama

45.5 x 53 cm
Acrylic on Canvas
Year 1987

Pumpkin OQR by Yayoi Kusama

14 x 18 cm
Acrylic on Canvas
Year 2000

Yayoi Kusama


Yayoi Kusama was born in Matsumoto City, Japan in 1929. She studied Nihonga painting, a rigorous formal style developed during the Meiji period (1868–1912) to deflect the wholesale influence of Western art through the revitalization of the traditions of Japanese painting and their synthesis with aspects of Western art. Attracted by the experimental promise of the postwar international art scene, Kusama moved to New York City in 1958.

As a young struggling artist in New York, Kusama produced her first astonishing Net paintings in 1959—vast canvases measuring up to 33 feet in width, entirely covered in rhythmic undulations of small, thickly painted loops. The inherent philosophical paradox of these paintings—that “infinity” could be quantified and constrained within the arbitrary structure of a readymade canvas—combined with the more subjective and obsessional implications of their process, distinguish these works from Minimalist abstraction, which would dominate the New York art scene several years later. The mesmerizing, transcendent space of the Nets was further reinforced by Kusama’s own insistent psychosomatic associations to her paintings. She went on to develop other striking bodies of work, including the phallic soft-sculptures Accumulation, Sex Obsession, and Compulsion Furniture, which she later incorporated into full-scale sensorial environments. From 1967 she staged provocative happenings in various locations, from the New York Stock Exchange to Central Park to the Museum of Modern Art. Painting the participants’ bodies with polka dots or dressing them in her custom-made fashion designs, she created risqué situational performances that merged her inner artistic world with external realities.

Kusama’s work is in the collections of leading museums throughout the world, including the Museum of Modern Art, New York; Los Angeles County Museum of Art, Los Angeles; Walker Art Center, Minneapolis; Tate Modern, London; Stedelijk Museum, Amsterdam; Centre Pompidou, Paris; and the National Museum of Modern Art, Tokyo.