Megan C Hills at Wallpaper*:
Standing on a carpet of dried pasta, six crayon-coloured mannequins stand mid-conversation at a dinner party – each covered in artist Yayoi Kusama’s infinity nets: her famed seemingly endless dotted patterns. A table laden with crockery and surrounded by chairs similarly receives the same vibrant treatment, a scene arranged altogether for the first time in decades at M+’s ‘Yayoi Kusama: 1945 to Now’ retrospective in Hong Kong.
The meticulous portrait, titled Self Obliteration, speaks to the heart of Kusama’s hallucinogenic vision of the world, expressed by the Japanese artist over several decades. The polka-dotted faces of the mannequins disappear as they expand and contract endlessly beneath their styled wigs, sealed to the shape of identically shaped female bodies pinned to spotted stands.
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