In a unique style that is both sensory and utopian, Yayoi Kusama_s work possesses a highly personal character, yet one that has connected profoundly with large audiences around the globe. Throughout her career she has been able to break down traditional barriers between work, artist, and spectator . Kusama_s work_which spans paintings, performances, room-size presentations, sculptural installations, literary works, films, fashion, design, and interventions within existing architectural structures_has transcended some of the most important art movements of the second half of the twentieth century, including pop art and minimalism. Conveying extraordinary vitality and passion, her work seems to encompass an autobiographic, even confessional dimension. As stated by Roberta Smith in The New York Times, _These paintings form a great big infinity room of their own, but one in which each part is also an autonomous work of art, its own piece of wobbly, handwrought infinity. You may not want to know these paintings Ms. Kusama has made, but in the moment their vitality is infectious. It is the vitality of an artist who lives to work, whose work keeps her alive.

_Yayoi Kusama: Festival of Life documents the artist_s most recent, concurrent exhibitions at David Zwirner_s Chelsea and Upper East Side spaces in New York, featuring a selection of paintings from her iconic My Eternal Soul series, new large-scale flower sculptures, a polka-dotted environment, two Infinity Mirror Rooms, and a selection of new Infinity Nets paintings. The monograph includes new scholarship on the artist by Jenni Sorkin, as well as a special foldout poster.