Yayoi Kusama's Infinity Nets (2000) takes the all-over net structure she first developed in New York in the late 1950s and prints it onto mirror — a move that fundamentally changes how the work operates, the viewer and the surrounding room becoming part of the image every time someone stands in front of it. The net itself is rendered in white and red on a grey reflective ground — irregular polygons of varying sizes covering the entire sheet without focal point or hierarchy, the pattern pressing against every edge as though it extends beyond the mirror's boundary. The structure is the same one Kusama was painting on vast canvases at the Brata Gallery in 1959, the same one that placed her at the centre of a New York conversation about flatness, repetition and the limits of the picture plane — though her concerns were never quite the same as the Minimalists and Abstract Expressionists working around her.

Where they were interested in the object and its relationship to space, Kusama was interested in the dissolution of both. The mirror makes that dissolution literal. The net floats over a reflection of whoever looks at it, the viewer's face appearing within the pattern, the boundary between the artwork and the person looking at it temporarily removed.

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