A Final Return to the Infinite
The Institute of Contemporary Art in Boston prepares to reopen one of its most popular acquisitions this October. The "Love Is Calling" installation by Japanese artist Yayoi Kusama returns to the museum floor seven years after its initial run. This decision follows the death of the artist earlier this month at the age of 97. Museum curators view the exhibition as a way to honor her legacy while inviting new audiences to engage with her work.
"Love Is Calling" serves as the centerpiece for the ICA's 90th anniversary exhibition. The museum staff spent significant time coordinating the logistics of the installation. It requires several tractor trailers to move the crated components of the 20 by 28-foot room. ICA chief curator Ruth Erickson noted that the return of the piece represents the future trajectory of the museum’s permanent collection. Visitors can view the work starting October 15 with tickets available both online and at the museum entrance.
The Sensory Experience of Kusama’s Work
Inside the room, visitors encounter an environment designed to disorient and fascinate. The space uses mirrors to create the illusion of endless depth. Thousands of illuminated, polka-dotted tentacles extend from the ceiling and floor to form a rhythmic, repeating pattern. An audio track of Kusama reciting her own poetry in Japanese plays constantly in the background. The room accommodates up to 12 people at a time to ensure the intended effect remains intact.
Erickson emphasizes that while the room is highly photogenic for social media users, physical presence matters more. A still photograph cannot convey the sensation of standing within the vast, spotted structure. The museum acquired this specific piece in 2019, shortly after the institution began building its own permanent collection. The room opened that September but closed early in 2021 due to public health restrictions.
A Legacy of Avant-Garde Influence
Kusama’s career spanned several decades and multiple continents. Born in Matsumoto, Japan, she moved to the United States in 1957. She became a fixture of the 1960s New York avant-garde scene. She gained attention for staging public protests against the Vietnam War and creating installations that challenged the minimalist trends of the era. Her early work frequently outperformed contemporaries like Andy Warhol and Robert Morris in public reception.
Her influence extends across pop art, performance art, and feminist art movements. Former ICA curator Eva Respini once described Kusama as the grandmother of these movements. Her later career in Japan saw her live voluntarily in a mental health facility while maintaining a steady output of creative work. She navigated significant personal struggles and controversy, including fallout from comments made in her 2002 memoir, yet she remained a titan of the global art market until her final days.
Future Implications for the Institution
The return of "Love Is Calling" marks a significant milestone for the ICA. The institution has expanded its scope over the last two decades. By anchoring its 90th anniversary show with this installation, the museum demonstrates a commitment to high-impact, experiential art. The exhibition will also incorporate items from nine other shows throughout the museum's history, providing a retrospective of its growth.
Industry experts continue to observe the lasting power of Kusama’s brand. Even after her passing, her collaborations with luxury brands like Louis Vuitton keep her name visible in the mainstream. The ICA exhibit provides a rare opportunity for local audiences to see her work in a non-commercialized, institutional setting. This exhibition will likely draw heavy attendance, proving that her vision remains a draw for the public.