The theoretical foundation of Peter Halley’s works lies within the ‘prisons’, ‘cells’, and ‘conduits’ of his canvases. These terms are part of his unique artistic vocabulary which stems from his interest in New York City’s geometrical character in combination with the post-conceptualist ideas developed as an art critic and writer. His early works present a mission to portray something unseen before. He integrated atypical, industrial materials including fluorescent Day-Glo paint and Roll-A-Tex to reflect these concepts, rendering geometric works symbolic of modern life: the conduits represent pathways, while the prisons and cells represent notions of confinement. His works were included in the Sao Paolo Biennale, the Whitney Biennale, and the 54th Venice Biennale and
represented in such museums and art institutions as the Museo Nacional Centro de Arte Reina Sofia, Madrid, the Stedelijk Museum, Amsterdam, the Tate Modern, London, the Dallas Museum of Art, Texas, the MoMA, New York, the Kitakyushu Municipal Museum of Art, Japan, the Museum Folkwang, Essen, and the Butler Institute of American Art, Ohio.