Yayoi Kusama's Three Pumpkins (1993) is one of the few works in her printed output to place multiple pumpkins within a single image — three forms of different scales arranged across the image, the motif encountered not as a singular object but as a group. The three pumpkins vary in proportion and placement. The central one rises tallest, its elongated ribs extending upward to dominate the upper half of the image.

To its left a wider, lower form leans outward, its lobes fanning in a different direction. To the right a third, similarly elongated, completes the arrangement — each one mapped in the same mark structure, the marks scaling from small along the outer vertical sections to large circles across the widest areas, but the forms themselves distinct enough in shape and orientation to read as individuals rather than repetitions. The relationship between the three is not symmetrical or formally arranged.

They sit close together, overlapping slightly at the base, the image feeling discovered rather than constructed — as though the pumpkins simply occupy the same space rather than having been placed within it. Against the fractured yellow web of the black ground, which fills every gap between and around them, the three forms hold together as a unit through shared colour and shared mark-making logic. Kusama has described the pumpkin as a form she returns to for its stability and its groundedness.

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