Yayoi Kusama's Pumpkin (GT) (1996) returns to the green-on-black configuration with a larger, more upright form than the Pumpkin (G) — taller and more substantial, its ribs longer and more pronounced, the pumpkin filling the image with a presence that the wider, lower version does not have. The black dots run from small along the outer curves to large bold circles down the central columns in the longest dot sequence of any green work in the series, the scale shift from the outermost marks to the largest circles at the centre more dramatic here than in the broader configuration. The green is a bright, saturated tone — closer to the vivid green of a growing plant than to any autumnal warmth, the colour reinforcing the sense of something alive and at its peak rather than harvested and stored.

The dark field behind carries a structure of green lines forming irregular shapes — more open and spacious than the tightly packed fields of the 2004 portfolio works, the dark between the lines visible and breathing, the background present but not pressing. This gives the image a different quality from the densely worked fields of the yellow and red works — the dark field receding more clearly behind the form, the pumpkin sitting in space rather than emerging from a field of equal density. The GT designation places this alongside the YT configuration of the yellow series — the tall, elongated proportion applied to the green palette, the same underlying form tested in a completely different chromatic register. By 1996 Kusama had been exploring the green pumpkin alongside the yellow and red works, each colour combination adding a new dimension to an investigation that had no fixed endpoint, the series extending without the suggestion that any single configuration was definitive.

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