The 96-year-old Japanese artist Yayoi Kusama, widely regarded as the world's most famous living artist, is now the subject of the first major retrospective in Switzerland at the Fondation Beyeler in Riehen. The exhibition showcases 300 works spanning seven decades, revealing the complex psychological depths behind her iconic colorful polka dot patterns that have made her a global art sensation.

Critics often claim that Kusama's popularity stems largely from her work's social media appeal. Her signature polka dots - colorful patterns covering walls, clothing, and serpentine forms - create what some describe as a visual ball pit for art enthusiasts. The bright, instantly recognizable aesthetic offers high visual impact and shareability, making her installations perfect for the Instagram age.

Visitors to the Fondation Beyeler encounter Kusama's polka dots immediately upon entering, with silver spheres floating in the water lily pond. This installation, "Narcissus Garden," was first created in 1966 for the Venice Biennale, not as an officially invited artist, but as an act of self-empowerment. Adjacent to the pond stands one of two Infinity Mirror Rooms - mirrored boxes that create infinite spaces where colored lights seem to suspend viewers in a universe of bright stars.

Despite The Guardian crowning Kusama as the world's most popular artist, fame comes with a price. The overwhelming focus on her polka dots often obscures the true nature of her work. Kusama's dot motifs, along with other repetitive patterns, originated from hallucinations she experienced as a young girl, making her art a form of liberation and self-therapy rather than mere decoration.

In 1957, Kusama moved to New York where she achieved significant success. However, she returned to Japan in 1972 and has since lived voluntarily in a psychiatric clinic. The exhibition presents Kusama as a sensitive superstar, displaying many works that appear dark and oppressive, far from the cheerful impression her colorful dots might suggest.

The show includes oil paintings from the 1950s in red-brown tones that resemble glimpses into a dark bodily interior, and surreal collages from the 1970s with nightmare-like qualities. Throughout the exhibition, visitors encounter works that clearly reflect an artist dealing with deep psychological wounds. The traumatized child within Kusama is tangible and comprehensible in the display.

Less visible in the current exhibition is Kusama's socially critical side. During the 1960s, she organized sexually charged happenings and political protest actions, including burning American flags. The artist understood how to attract attention and was highly business-savvy, temporarily running her own fashion line sold at Bloomingdale's in New York. Psychological pain and self-marketing do not necessarily exclude each other, though the exhibition could explore this aspect more thoroughly.

The retrospective features some of Kusama's most striking pieces, including "Screaming Girl" from 1952, which demonstrates the artist's ability to channel personal anguish into powerful visual statements. Her performances, such as "Horse Play" from 1967, showed her commitment to covering everything - even living beings - with her signature dots, claiming she painted naked bodies to make them more beautiful.

Despite some gaps in exploring all aspects of Kusama's complex career, the exhibition proves essential viewing for both Kusama enthusiasts and newcomers to her work. The show successfully balances the popular appeal of her immersive installations with the deeper psychological and artistic significance of her seven-decade career. The exhibition runs until January 25, 2026, offering visitors an opportunity to experience both the wonder and the darkness behind one of contemporary art's most recognizable visual languages.