Yayoi Kusama's Meditation (1995) is an continuous field of grey, white and dark marks — flower-like forms with radiating petals covering the entire sheet, white dots of varying sizes distributed across them at irregular intervals, the image operating without hierarchy or focal point in a register that is quieter and more contemplative than almost anything else in her printed output. The grey forms read as stylised flowers or star-like bursts, each one a centre with lines radiating outward, packed together across the sheet so that the overall field reads as a continuous texture. Over and within this field, white dots of different sizes — some very small, some large and fully opaque — are scattered without apparent system, though the distribution feels considered rather than random, the larger dots creating a loose secondary rhythm across the surface.

The title points directly toward Eastern philosophical traditions that run beneath much of Kusama's work. She grew up in Japan during a period when Zen Buddhism was a cultural presence, and the meditative dimension of her mark-making — the hours of repetitive work, the sustained attention to a single gesture across an entire surface — has always been noted by writers on her output. The specific quality of Meditation goes further than the net and dot works in this direction.

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