By Baynard Woods
Not far from the White House, at the Hirshhorn Museum and Sculpture Garden in D.C., Yayoi Kusama’s blockbuster retrospective show “Infinity Mirrors” has been attracting insane crowds that stand in line, eager for the 20-second stretches of disorientation inside Kusama’s infinity rooms.
The rooms use facing mirrors, hanging lights, and polka dots to create vistas of infinite regress. As art, it is perhaps underwhelming—an empty spectacle with no real depth, offering upon long inspection nothing unseen in a glance.
But as I stood in “The Souls of Millions of Light Years Away,” I snapped a picture and realized it was far more compelling on my screen than in life, the perfect art for the age of the selfie.