The 90-year-old Japanese artist Yayoi Kusama is an international sensation. Exhibitions featuring her ongoing series of “Infinity Mirrored Rooms” consistently draw tens, if not hundreds, of thousands of visitors from all walks of life, with many enduring multiple-hour wait times for the opportunity to spend as little as a single minute inside the installations (and almost undoubtedly using much of that hard-won time to snap an obligatory selfie). 
Now, the Kusama phenomenon is electrifying New York once again this holiday season—and at an unprecedented new scale. David Zwirner is currently in the midst of “Every Day I Pray for Love,” a solo show by the artist that has been magnetizing nearly 2,000 visitors a day to its West 20th Street gallery in Chelsea. And later this week, Kusama’s work will be beamed to an estimated 23 million viewers around the globe in the form of a monumental artist-designed hot-air balloon that will soar through the streets of Manhattan as a part of the Macy’s Thanksgiving Day Parade. 
Yet such widespread popularity seems even more incredible to the much smaller group of aficionados familiar with Kusama’s artistic and personal trials, as well as the often challenging, even unsettling, themes under the Instagram-friendly surface of her works. 
So how did a career that began with guerrilla performances and protest pieces wind its way through voluntary commitment to a psychiatric facility and crescendo in family-friendly social-media ubiquity? Artnet News national art critic Ben Davis unwinds the unlikely history and undeniable resonance of Kusama’s groundbreaking practice.