Yayoi Kusama breaks records with the most successful exhibition in Australian history

The art world has witnessed a historic moment in Melbourne as Japanese artist Yayoi Kusama’s vibrant retrospective at the National Gallery of Victoria (NGV) has become the most attended ticketed art exhibition in Australian history. With over 480,000 visitors since its opening in December — and final numbers expected to soar past 500,000 — Kusama’s immersive spectacle has officially eclipsed the previous NGV record set by Van Gogh and the Seasons in 2017. With this kind of public and institutional momentum, now may be the perfect time to invest in a Kusama screenprint.

NGV’s exhibition — featuring over 200 works, from her iconic mirrored infinity rooms to towering pumpkins and immersive, spot-covered installations — has drawn record-breaking crowds. Around 40% of those visitors travelled from interstate or overseas, and the show’s impact on the local economy has been massive, generating over $51 million.

As NGV Director Tony Ellwood put it, “This milestone is a testament to the enduring impact of Kusama’s work and the growing appeal of contemporary art in Australia.” Indeed, Kusama’s ability to captivate such a broad audience — families, influencers, art collectors, and even those who don’t usually step into galleries — is nothing short of extraordinary.

At 96 years old, Kusama continues to dazzle the world with her kaleidoscopic installations, iconic polka dots, and immersive infinity rooms. Her Melbourne exhibition, developed specifically for Australian audiences and supported by the Victorian Government’s Major Events Fund, features over 200 works — including her famous “dancing pumpkin” sculpture, which will find a permanent home at NGV.

Curator Wayne Crothers described the “snowball effect” that brought in diverse audiences: from curious first-time gallery goers and selfie-seeking Gen Z visitors, to returning families and art aficionados. Kusama’s ability to bridge generations and spark awe has transformed the NGV into a magnet for both local and international audiences.

Kusama’s work thrives in the age of social media. Her interactive installations — from mirrored infinity rooms like My Heart is Filled to the Brim with Sparkling Light to The Obliteration Room in the children’s gallery — are tailor-made for smartphones and selfies. The show’s popularity was so overwhelming that timed entries, midnight openings, and even gallery attendants were employed to manage the flow of people.

And yes — even Dua Lipa joined in with a selfie during her visit.

While some critics dismiss Kusama’s blockbuster appeal as “populist,” her influence is undeniable. As Crothers wryly notes, even the Impressionists were once derided as too commercial. Now, Kusama stands among them as an icon who redefines what it means to connect with the public through art.

In the end, Kusama’s Melbourne takeover proves one thing loud and clear: art doesn’t have to be exclusive to be extraordinary. It just has to make you feel something — and in this case, half a million people certainly did.

This surge in public interest is often mirrored in the art market. Kusama is already recognised as the top-selling female artist in the world, and her market has shown remarkable resilience and upward momentum over the past decade. But a high-profile institutional moment like this can signal a new phase of demand — especially in the more accessible tier of her market, like signed screenprints and limited editions.

Indeed, museum-level exposure drives demand. A record-breaking exhibition puts Kusama’s name in the headlines, increases search traffic, boosts global awareness, and often drives new buyers into the market. It’s not uncommon for auction prices — particularly for limited editions — to spike in the months following a major museum show.

With Kusama specifically, at 96, her output is naturally slowing. As institutions race to honour her legacy and her work becomes further cemented in the canon, collectors increasingly view her prints as not just visually arresting but also historically significant.