Her childhood and education in Japan is followed by a career kickoff in New York City. Upon checking in, I enter an unassuming room where a timeline narrates Kusama’s life and works in intricate detail. Obliterate your personality.” Kusama’s words solemnly greet visitors at the exhibit entrance in the Hirshhorn’s basement, which has been converted into a wonderful miniature universe. And of course, the vivid colors and maximalist patterns are tantalizingly Instagrammable. Time, space, and reality wash away to reveal an eternity of repeating polka dots. Kusama imposes a dissolution of the self upon the experiencer through her multidimensional works, as one feels like they are being absorbed and incorporated into the art. The visual and spatial overstimulation engulfs visitors so much so that it’s slightly disorienting and nauseating at times. The infinity rooms-enclosed spaces lined with mirrors to create a sense of, you guessed it, infinity-are clearly the crown jewel of One With Eternity, and for good reason. Instead, she invites us to melt into the vast oneness of the universe and realize that our existences are inextricably intertwined with those of everything around us. Her art abolishes the mindset of seeing ourselves as an entity separate from the rest of the world. One With Eternity urges visitors to reconceptualize our individuality-a seemingly terrifying process that calls into question one’s self, ego, and identity-but Kusama embraces this process with open arms. After the resounding popularity of her 2017 Infinity Mirrors exhibit, the Japanese artist’s work returned to the Hirshhorn last April, powerfully encapsulating Kusama’s message of self-obliteration. Obtaining a free next-day pass to the Hirshhorn’s One With Eternity: Yayoi Kusama Exhibit is a feat comparable to the Taylor Swift Ticketmaster ordeal-they are snatched up within minutes of their daily noon releases. Content warning: This article includes references to sexual abuse.
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