Yayoi Kusama, a pioneering figure in contemporary art whose career spanned more than six decades, died on Thursday at the age of 97. Her work, which evolved through distinct phases, left an indelible mark on the art world, blending avant-garde experimentation with popular appeal.

Kusama first gained attention in New York in the early 1960s, quickly establishing herself among the city’s avant-garde scene. After relocating from Japan to the United States in 1957, she introduced expansive canvases covered in repetitive lines and dots, later known as “Infinity Nets.” These works were considered early contributions to the post-Abstract Expressionist movement in American art, attracting critical notice for their innovative approach to pattern and form.

In 1962, Kusama’s “Accumulations,” featuring provocative sculptures adorned with fabric phallic forms, exemplified a confrontational feminist commentary on male dominance. This work, along with her early installations such as a sofa covered in cloth penises, represented some of the first major provocations of 1960s feminist art. Kusama also embraced performance, integrating herself into her art through public appearances—sometimes nude and painted with dots—and orchestrating events that merged visual art with countercultural expression.

Throughout the 1960s, Kusama’s presence extended to Europe, and she actively participated in the decade’s shifting artistic currents. Observers have noted that she anticipated and shaped emerging cultural trends, solidifying her status as a pivotal experimentalist in the international art milieu.

However, Kusama’s career was interrupted in the early 1970s by a recurrence of mental illness, leading her to return permanently to Tokyo where she resided largely in a psychiatric facility for much of the subsequent decades. During this period, her international visibility declined significantly, and her contributions were only modestly remembered.

Kusama reemerged in the late 1980s with renewed prominence. Her later work retained the signature motifs of dots and repetitive patterns but increasingly foregrounded her personal struggles with mental health. Critics began to link her art to the realm of outsider art, emphasizing how her lived experiences influenced her creative output. This shift broadened her appeal beyond traditional art audiences.

In the 1990s and beyond, Kusama’s installations, most notably the immersive “Infinity Rooms,” attracted mass audiences worldwide. These mirrored spaces, which create a sensation of infinite reflection, became emblematic of her art’s accessibility and visual impact. Kusama's later years saw her art permeating popular culture, including collaborations with major commercial brands such as Louis Vuitton, Coca-Cola, and Casio.

Despite some perceptions that these ventures diminished the avant-garde edge of her earlier work, Kusama’s ability to navigate both insider and outsider roles within contemporary art was regarded by some as a strategic expansion of her artistic identity. Ultimately, Kusama’s legacy is distinguished by her pioneering contributions to minimalism, feminist art, and immersive installation, as well as her unique synthesis of personal experience and cultural innovation.