Accumulation No.1 (1962)
“积累1号”是草间弥生标志性的积累系列中的第一个，在这个系列中，她将发现的家具转变为性感的物品。这件作品包括一张被遗弃的扶手椅，涂成白色，完全覆盖着柔软的填充突起，而流苏环绕着雕塑的底部。这件填充雕塑不再像“无限网”那样受到二维画布画面的限制，它延续了草间弥生的三维形式的重复冲动。
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.
这部具有威胁性的作品既有攻击性又有幽默感，也能有效地对抗草间弥生的性恐惧症。正如亚洲学者亚历山德拉·门罗(Alexandra Munroe)所解释的那样，“她想要凌驾于男性之上、凌驾于性之上的野心，无情地表现在她对形态的重复和综合使用上，这可以被解读为一种咄咄逼人的意志和幻想，目的是通过自己象征性地拥有来对抗压迫的男性权力。”在这样做的同时，草间弥生也抛弃了女性典型的被动角色。
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.
对草间弥生来说，这些被她称为“强迫性家具”的物品不仅是对父权权威的反驳，而且是她应对自己与生俱来的性焦虑的一种方式，对她来说是非常个人化的。“那张长满的扶手椅是我在害怕性欲时做的心身工作。”这些充满焦虑的作品将成为一种新的艺术形式，艺术评论家和历史学家露西·R·利帕德(Lucy R.Lippard)将其称为“古怪的抽象”。“我称之为…古怪抽象的创造者，拒绝回避想象和感官体验的延伸，同时也拒绝牺牲当前非客观艺术中最好的作品所要求的坚实的形式基础。”因此，草间弥生的性心理作品成为后极简主义艺术的重要先驱。
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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