Accumulation No.1 (1962)
“積累1號”是草間彌生標誌性的積累系列中的第一個，在這個系列中，她將發現的傢俱轉變為性感的物品。這件作品包括一張被遺棄的扶手椅，塗成白色，完全覆蓋著柔軟的填充突起，而流蘇環繞著雕塑的底部。這件填充雕塑不再像“無限網”那樣受到二維畫布畫面的限制，它延續了草間彌生的三維形式的重複衝動。
Accumulation No.1 is the first in Kusama's iconic Accumulations series, in which she transforms found furniture into sexualized objects. The work consists of a single abandoned armchair painted white and completely covered with soft, stuffed phallic protrusions, while fringe encircles the base of the sculpture. No longer limited by the pictorial plane of the two-dimensional canvas as with Infinity Nets, the stuffed sculpture continues Kusama's repetition compulsion in three-dimensional form.
這部具有威脅性的作品既有攻擊性又有幽默感，也能有效地對抗草間彌生的性恐懼症。正如亞洲學者亞歷山德拉·門羅(Alexandra Munroe)所解釋的那樣，“她想要凌駕於男性之上、凌駕於性之上的野心，無情地表現在她對形態的重複和綜合使用上，這可以被解讀為一種咄咄逼人的意志和幻想，目的是通過自己象徵性地擁有來對抗壓迫的男性權力。”在這樣做的同時，草間彌生也拋棄了女性典型的被動角色。
The menacing piece is both aggressive and humorous, and also works to confront Kusama's sexual phobias. As Asia scholar, Alexandra Munroe explains, "her ambition for supremacy over men and over sexuality is relentlessly expressed in her repetitive and aggregate use of the phallus form, which can be interpreted as an aggressive will and fantasy to defy oppressive male power by possessing it symbolically herself." In doing so Kusama also abandons the typically passive role of the female.
對草間彌生來說，這些被她稱為“強迫性傢俱”的物品不僅是對父權權威的反駁，而且是她應對自己與生俱來的性焦慮的一種方式，對她來說是非常個人化的。“那張長滿的扶手椅是我在害怕性慾時做的心身工作。”這些充滿焦慮的作品將成為一種新的藝術形式，藝術評論家和歷史學家露西·R·利帕德(Lucy R.Lippard)將其稱為“古怪的抽象”。“我稱之為…古怪抽象的創造者，拒絕迴避想象和感官體驗的延伸，同時也拒絕犧牲當前非客觀藝術中最好的作品所要求的堅實的形式基礎。”因此，草間彌生的性心理作品成為後極簡主義藝術的重要先驅。
More than just making a statement against patriarchal authority, these "compulsion furniture" pieces, as she called them, were deeply personal for Kusama as they were her way of coping with her own innate sexual anxieties. "The armchair thickly covered in phalluses was my psychosomatic work done when I had a fear of sexual vision." These anxiety-ridden pieces would become included in a new form of art which art critic and historian, Lucy R. Lippard, called 'Eccentric Abstraction'. "The makers of what I am calling...eccentric abstraction, refuse to eschew imagination and the extension of sensuous experience while they also refuse to sacrifice the solid formal basis demanded of the best in current non-objective art." As a result, Kusama's psychosexual works became a significant precursor to post-Minimalist art.
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