The uptown exhibition is a great baseline introduction to Ms. Kusama’s sensibility, and its obsessive repetition and intuitive process. And as blasphemous as it may sound, a few of these paintings are as good as the sought-after, historically sanctioned early works. The new ones are freer and breathe more. The Nets billow and sink, contract or stretch. The paint clots and thins out. The works make spatial illusion feel like a living, shifting thing, sometimes reptilian but also spongy, like layered clouds. In one work, two shades of green curls, painted atop bright orange, suggest a verdant patchwork of irregular fields. In the largest canvas, red curls fade in and out of the dominant silver. The whole surface swims and slithers, evoking a mass of crumbling skyscrapers, like the images of fractured Eiffel Towers that Robert Delaunay began making around 1910

One of the Zwirner spaces on West 19th Street houses two “Infinity” rooms that will undoubtedly attract lines around the block and hours of waiting time. One is a peek-in hexagonal box whose mirrored interior multiplies a changing light show, creating the sensation of flying above an endless cityscape. It’s a new version of an earlier piece, and it may disappoint selfie-seekers.