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She has stated that she began to consider Japanese society "too small, too servile, too feudalistic, and too scornful of women."[10] In 1957, she moved to Seattle, where she had an exhibition of paintings at the Zoe Dusanne Gallery.[19] She stayed there for a year[20] before moving on to New York City, following correspondence with Georgia O'Keeffe in which she professed an interest in joining the limelight of the city, and sought O'Keeffe's advice.[21] During her time in the US, she quickly established her reputation as a leader in the avant garde movement and received praise for her work from the anarchist art critic Herbert Read.[22] In 1961 she moved her studio into the same building as Donald Judd and sculptor Eva Hesse; Hesse became a close friend.[23] In the early 1960s Kusama began to cover items such as ladders, shoes and chairs with white phallic protrusions.[24] Despite the micromanaged intricacy of the drawings, she turned them out fast and in bulk, establishing a rhythm of productivity which she still maintains. 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