Internationale Galerij Orez, The Hague Acquired from the above by the present owners in 1965

Grady Turner, “Yayoi Kusama,” Bomb, No. 66, Winter 1999, p. 67 (illustrated) Laura Hoptman, Akira Tatehata and Udo Kultermann, Yayoi Kusama, London, 2000, p. 149 (Internationale Galerij Orez, The Hague, 1965, installation view with the artist illustrated) Yayoi Kusama: Eternity-Modernity, exh. cat., The National Museum of Modern Art, Tokyo, 2004, fig. 21, pp. 232, 301 (Internationale Galerij Orez, The Hague, 1965, installation view with the artist illustrated, p. 233) Yayoi Kusama, exh. cat., Centre Pompidou, Paris, 2011, p. 108, note 9 Louise Neri and Takaya Goto, eds., Yayoi Kusama, New York, 2012, p. 289 (illustrated) Caroline de Westenholz, Higher that Level! A History of International Gallery Orez, Amsterdam, 2016, p. 231, note 112 (Internationale Galerij Orez, The Hague, 1965, installation view with the artist illustrated, pp. 78, 83) Megan Cloherty, “5 reasons Hirshhorn’s ‘Infinity Mirrors’ exhibit will be your new obsession,” WTOP News, February 22, 2017, online (Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2017, installation view illustrated) Roger Catlin, “Follow the Polka Dots to Yayoi Kusama’s Infinity Rooms That Are Breaking Museum Records,” Smithsonian Magazine, February 28, 2017, online (Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2017, installation view illustrated) Nina Azzarello, “the hirshhorn museum hosts six immersive infinity mirror rooms by yayoi kusama,” designboom, March 8, 2017, online (Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2017, installation view illustrated) Eliza Jordan, ““Yayoi Kusama: Infinity Mirrors” at the Hirshhorn Museum and Sculpture Garden,” whitewall, April 18, 2017, online Claudia Rousseau, “Reflections on Yayoi Kusama: Infinity Mirrors,” East City Art, May 2, 2017, online (Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2017, installation view illustrated) Uma Nair, “The ‘Princess of Polka Dots’ on tour in North America,” Architectural Digest, August 22, 2017, online (Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2017, installation view illustrated) “Review: Immerse yourself in ‘Yayoi Kusama: Infinity Mirrors’,” Akron Beacon Journal, July 21, 2018, online (Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2017, installation view illustrated) “The Blockbuster “Yayoi Kusama: Infinity Mirrors” Exhibition Comes to The Cleveland Museum of Art,” Juxtapoz, July 10, 2018, online (Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2017, installation view illustrated) Sarah Cascone, “New York and No Lines: How the Cleveland Museum of Art is Changing the Way Visitors See Yayoi Kusama’s ‘Infinity Mirrors’,” Artnet, July 24, 2018, online (Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2017, installation view illustrated) “Yayoi Kusama at 90,” CNN, March 22, 2019, online (Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2017, installation view illustrated) Greg Allen, “The Kusama Industrial Complex: How Yayoi Kusama Came to Captive the World, Fueling Museums and the Market,” ARTnews, July 21, 2020, online (Hirshhorn Museum and Sculpture Garden, Washington, D.C., 2017, installation view illustrated) Tijs Visser, ed., KUSAMA: with love from holland, Voorschoten, 2022, p. 107 (Internationale Galerij Orez, The Hague, 1965, installation view with the artist illustrated, pp. 68, 69, 70, 71, 143, 144; Stedelijk van Abbemuseum, Eindhoven, 1968, installation view illustrated, p. 99)

The Hague, Internationale Galerij Orez, Facets of Contemporary Eroticism, May 1965 Eindhoven, Stedelijk van Abbemuseum; Ghent, Sint Pietersabdij, ‘three blind mice’ de collecties: Visser, Peeters, Becht collections, April 6–August 15, 1968, no. 126, p. 76 (installation view in the Becht's home illustrated, p. 58) Amsterdam, Stedelijk Museum, Collectie Becht, March 16–May 6, 1984, no. 298, p. 230 (illustrated, p. 134) Labège, Centre régional d'art contemporain Midi-Pyrénées, Collection Agnes et Frits Becht, September 23–November 8, 1987 Los Angeles County Museum of Art; New York, The Museum of Modern Art (no. 78, pp. 177, 182, 186, 187; illustrated, p. 160; illustrated on the back cover of the exhibition brochure); Minneapolis, The Walker Art Center; Tokyo, The Museum of Contemporary Art (no. 78, pp. 180, 185, 189, 190; illustrated, p. 160), Love Forever: Yayoi Kusama, 1958-1969, March 8, 1998–July 4, 1999 Columbus, Wexner Center for the Arts, Part Object Part Sculpture, October 30, 2005–February 26, 2006, pp. 167, 276 (illustrated, p. 166) Rotterdam, Museum Boijmans Van Beuningen; Sydney, Museum of Contemporary Art; City Gallery Wellington, Yayoi Kusama: Mirrored Years, August 23, 2008–February 7, 2010, pp. 289, 291, 297 (installation view illustrated, pp. 14, 17; the artist with the present work, 1965, illustrated, p. 151) The Hague, Gemeentemuseum, Happy Days: Art in The Hague 1947-1967, September 1, 2012–January 20, 2013 Kunstmuseum Wolfsburg; Staatsgalerie Stuttgart, Art & Textiles: Fabric as Material and Concept in Modern Art from Klimt to the Present, October 12, 2013–June 22, 2014, p. 370 (illustrated, p. 167) Humlebæk, Louisiana Museum of Modern Art; Oslo, Henie Onstad Kunstsenter; Stockholm, Moderna Museet; HAM Helsinki Art Museum, YAYOI KUSAMA. In Infinity, September 17, 2015–January 8, 2017, p. 125 (illustrated, p. 58) Washington, D.C., Hirshhorn Museum and Sculpture Garden; Seattle Art Museum; Los Angeles, The Broad; Toronto, Art Gallery of Ontario; Cleveland Museum of Art; Atlanta, High Museum of Art, Yayoi Kusama: Infinity Mirrors, February 23, 2017–February 17, 2019, fig. 11, pl. 40, p. 220 (the artist with the present work, 1965, illustrated, p. 24; illustrated, p. 157) Berlin, Gropius Bau, Yayoi Kusama: Retrospective. A Bouquet of Love I saw in the Universe; then travelled as, Tel Aviv Museum of Art, Yayoi Kusama: A Retrospective, March 19, 2021–May 14, 2022, p. 337 (illustrated, p. 117)