Yayoi Kusama’s psychedelic art was at its best when taken in high doses

With dots that dizzied the viewer, the giddy sensory overload of seeing the grandest installations of her octopuses and giant pumpkins was hard to resist • Yayoi Kusama, Japanese artist who became a global superstar, dies aged 97 • A life in pictures I once had an argument about Yayoi Kusama with Peter Gabriel.

Not in person – I’ve never met the prog rock hero.

But after I recorded some critical comments on her work for the BBC, I watched the segment only to see Gabriel passionately defending her.

My onscreen cynicism seemed harsh indeed compared with his soulful appreciation of all those dots.

My scepticism about Kusama started the first time I saw her work at the Museum of Modern Art in New York.

The context is significant because after a big dose of Jackson Pollock’s looping, tangled forests of colour and line (colour as line), Piet Mondrian’s pulsing Broadway Boogie Woogie and other great abstract art, Kusama’s dots appeared to me static, planned, predictable.

I wasn’t excited or moved.

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