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Best known for her signature pumpkin sculptures and polka-dot paintings, which can command millions of dollars at auction, Kusama’s success has skyrocketed in the past decade. The most photogenic parts of her oeuvre — including her immersive “Infinity Mirror Room” installations, tickets for which sell out at museums the world over — have achieved mainstream appeal in the era of social media.

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“Kusama is so much more than pumpkin sculptures and polka-dot patterns,” he explained. “She is a thinker of deep philosophy — a ground-breaking figure who has really revealed so much about herself, her vulnerability (and) her struggles as the source of inspiration for her art.”

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Visitors are given a sense of how these forms have evolved, beginning in a room filled with her “Infinity Net” paintings — including a breakthrough work she created after seeing the Pacific Ocean for the very first time from a plane window when she moved to the US from Japan in 1957.

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“Nowadays we’re very used to (people) talking about their mental health challenges, but this was 60 to 70 years ago that she started doing this,” said Chong. “It really runs throughout her life and career, but it never really stays in a dark place. She always proves that, by talking about death and even her suicidal thoughts and illness, she reaffirms and regenerates her will to live.”

Elsewhere, the exhibition features lesser-known pieces from the artist’s repertoire, shining a light on what she created mid-career, when she returned to Japan depressed and disillusioned. Among them is a black and white stuffed fabric sculpture from 1976 called “Death of a Nerve.”

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“It’s an unusual piece for Kusama because most people associate her with the pumpkins, or the mirror rooms, or with more Pop forms, but this is a very soft sculpture that she has always been working on, since the beginning,” explained Mika Yoshitake, an independent curator who worked on the M+ show with Chong, as well as previous Kusama shows at the Hirshhorn Museum in Washington, D.C. and the New York Botanical Garden.

“I think she’s incredible to be able to sustain her strength through art,” added Yoshitake, who last saw Kusama in 2018, before the pandemic. “She’s determined to have her story told.”

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“She has always said ‘love forever,’ said Yoshitake. She wants people to be at peace, and have this warmth and to care for each other. There’s so much strife and war, terrorism, a lot of things she sees in the world, especially through this pandemic.”

“I paint every day,” she said. “I am going to continue creating a world in awe of life, embracing all the messages of love, peace and universe.”

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technical analysis: hexa tradex limited (534328) ✌️【Wealth Growth】✌️ Real-time stock and futures data, backed by expert stock market trend predictions, to help you make timely and profitable investment decisions. Since its conception over a decade ago, the museum has been touted as Asia’s answer to the London’s Tate Modern or New York’s Museum of Modern Art. When it finally opened last year, it faced unique challenges, from Hong Kong’s changing political environment, which continues to raise censorship concerns across sectors including the arts, to pandemic restrictions that closed the museum for three months and, until recently, barred most international visitors from the city. But Chong sees the latter, at least, as “a blessing in disguise.”

“For a global museum to have opened and be embraced by our local audiences, first and foremost, in its first year couldn’t have been a better way to start the museum,” he said.

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“(Kusama is) living proof that art is indeed therapy and has a powerful healing power,” said Chong. “And that’s such an important lesson, especially for us during this period of post-pandemic.”

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