"[Yayoi] Kusama was... part of the artistic avant-garde. Her death, at 97, is a cold reminder that the avant-garde no longer exists...."

"It was an attempt to see the world afresh. For many of its leading figures, from the Impressionists in the 1870s to conceptual artists a century later, this also meant proposing new and better solutions to the problem of how to be and how to live together. These proposals, many times rooted in sympathy and love, were presented as alternatives to the political structures and market logic that had so often led to war, exploitation, hopelessness, and suffering. Even when attempts to turn these imagined alternatives into reality failed—and often dismally—the avant-garde stood in a clear relationship to modernity’s traumas. It was like the whistle cap in the spout of a boiling kettle: both a release of suppressed pressures (psychic and cultural) and an alarm. But society got sick of hearing the alarm. And the kettle got tired of whistling...."

Writes Sebastian Smee, in "The Limits of Yayoi Kusama's Infinity/The visionary artist once challenged ways of seeing—until she was seen by everyone" (Atlantic gift link).

"Kusama... talked about her repeating dots as an expression of an inclination toward 'self-obliteration' —an urge to dissolve into forever-expanding patterns.... The artist—an adorable maker of giant spotted pumpkins who lived in a psychiatric institution—became beyond criticism. You could no more criticize her than you could a grandmother giving a teddy bear to an orphan.... Successful branding is exactly what art at its best is not: a form of general seduction rather than specific engagement...."