Acquisitions News

One Infinity Is Not Enough: Broad Museum Acquires Second Yayoi Kusama Infinity Mirror Room

A detail view of Longing for Eternity (2017), when it was on view at Zwirner in New York last year. Click to enjoy a larger, trippier photograph.


The Broad Museum in Los Angeles revealed today that it has acquired a new Yayoi Kusama Infinity Mirror Room, bringing its total number of Infinity Rooms to two.

This one is titled Longing for Eternity (2017), and it appeared late last year at the David Zwirner gallery in New York, where huge numbers of Infinity Mirror Room fans braved long lines, often in the brutal cold, to experience a batch of new ones. The work goes on view on Saturday at the Broad, which last year hosted a survey of the artist’s Infinity Rooms.

The Broad’s first Infinity Mirror Room, The Souls of Millions of Light Years Away (2013), has proven to be a very hot ticket, with museum-goers queuing up to spend 45 seconds inside the trippy piece. Viewers will also get 45 seconds with the new work, meaning that those who endure the wait will be rewarded with 90 seconds of visual delectation.

(Note well: you can wait your turn while visiting the rest of the museum. As at certain highly-trafficked Brooklyn restaurants, you receive a text shortly before your scheduled visit the Infinity Mirror Room, which is a hospitable touch.)

The new work, Longing for Eternity, is a bit different from some the classic Infinity Mirror Rooms in that it is a discrete sculpture with peepholes. Viewers peer inside the mirror box, gazing into an infinity that features many blinking LEDs. It’s also not a little hallucinogenic, and really quite a nice experience. I recommend it.

The Broad also said that it has acquired two works by Mark Bradford, Helter Skelter I (2007), purchasing it earlier this month for $12 million at Phillips, and I heard you got arrested today (2018). Also acquired were a 60-part photo work by Sherrie Levine, After Russell Lee: 1–60 (2016) and, perhaps most exciting, an untitled 2017 painting by Kerry James Marshall, the first work by the artist to enter the collection.

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