Yayoi Kusama's Sunlights (1998) takes the all-over structure of the Infinity Nets and organises it around a radial centre — small, densely packed white spots at the middle of the image expanding outward in gradually larger formations until they reach the edges, the whole field bathed in a saturated red that gives the work an intensity unlike anything else in her printed output from this period. The structure here is not the uniform distribution of the standard net works. There is a centre — a bright concentration of tightly packed white marks that bleeds outward, the forms growing in size and spacing as they move away from the middle, the image reading as something between a biological cross-section and a view of the sun through a filter that reveals its internal structure.

The title is apt without being illustrative — this is not a picture of sunlight but a field organised with the same kind of radial approach. The red is total. Where many of Kusama's net works use colour as a line drawn against a contrasting ground, here the red fills both the spaces between the marks and their outer boundary, the white appearing as each form's interior rather than as the ground the pattern sits on.

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