Woman (2006) by Yayoi Kusama brings the human figure into an image built entirely from line and dot — female silhouettes rendered in fluid black outlines that flow across a white ground, overlapping and connecting until the individual body becomes part of a continuous linear network. The figures are drawn with a lightness that sits closer to illustration than to the compressed, dot-mapped forms of the Pumpkins series. Each face carries the same simple features — a curved profile, a mouth, suggested hair — but they are distributed across the sheet in multiple orientations, some upright, some inverted, some reading sideways, the repeated form losing its singular identity through accumulation.

Dots in primary red, blue, and yellow are scattered across the image at irregular intervals, floating between the figures without attaching to any of them, the two systems — line and dot — coexisting without one organising the other. The border is part of the image rather than a frame around it. A zigzag of black and red triangles runs around all four edges, the serrated rhythm echoing the movement of the lines within, the boundary between image and margin kept deliberately active.

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