Mallory by Frere-Jones Type is the typeface used for Yayoi Kusama: Infinity Mirrors, designed by Miko McGinty. Published by the Smithsonian’s Hirshhorn Museum and Sculpture Garden and DelMonico Books, this is the first publication to focus on Yayoi Kusama’s Infinity Mirror Rooms.

Yayoi Kusama: Infinity Mirrors was the companion guide to the Hirshhorn Museum and Sculpture Garden’s exhibition which celebrated the legendary Japanese artist’s 65-year career and was one of 2017’s essential art experiences.

From DelMonico Books:

World-renowned Japanese artist Yayoi Kusama has worked in a variety of media, including painting, sculpture, performance art, and installation. Kusama’s iconic Infinity Mirror Rooms, which originated with Phalli’s Field in 1965, situate viewers in kaleidoscopic spaces filled with multicolored lights or whimsical forms. These mirror-lined installations reflect endlessly, distorting rooms to project the illusion of infinite space. Over the years, the works have come to symbolize different modalities within the various contexts they have inhabited, from Kusama’s “self-obliteration” in the Vietnam War era to her more harmonious aspirations in the present. By examining her early unsettling installations alongside her more recent ethereal atmospheres, this volume aims to historicize the body of work amidst the resurgence of experiential practices within the global landscape of contemporary art. Generously illustrated, this publication invites readers to examine the series’ impact over the course of the artist’s career. Accompanying essays, an interview with the artist, and a scholarly chronology round out the book.

To design the catalog for the exhibition Yayoi Kusama. The Moving Moment When I Went to the Universe, shown in 2018 at Victoria Miro, London, Why Not Associates used Cosimo. The typeface designed by Matthieu Cortat is distributed by 205TF.

The Chinese edition of Infinity Net: The Autobiography of Yayoi Kusama is designed by the Taiwanese designer Wang Zhi-Hong (王志弘) and published by Ecus Publishing House. The titles are set in Futo Go B101 by Morisawa and FF DIN by FontFont. Wang’s book design and typography mirror the Japanese artist’s dizzying, graphic obsession with polka dots.

The front dust jacket repeats in Kanji the artist's name (草間弥生), Infinity Net (無限の網), and “The Autobiography of Yayoi Kusama” (草間弥生自伝) which are set vertically, horizontally, and at different scales. The inside jacket lists art movements of which Kusama has been a part, with large red polka dots encroaching in from the edges to cover the type.

The book cover is wrapped with a black and white photograph of a young, nude Kusama decorated with polka dots and reclining on a couch from her Accumulation series. Large black and beige dots overlay most of the image, framing her the artist's body, and the book’s title and artist's name are repeated again. This time, there is a greater emphasis on the Latin text. Kusama’s Kanji name is set vertically on the book’s spine, in between “Yayoi Kusama” in Latin, which horizontally spans almost the entire width of the two covers.