In the early 1980s, Peter Halley established a distinct visual language consisting of cells, conduits, and prisons that he has continued to explore throughout his career. The dynamic arrangement of these elements in Red Cell Will Conduit (2026) evinces Halley’s striking technique as a colourist. The central Roll-a-Tex fluorescent red square evokes the arrangement of form in the work of Newman, Albers or Malevich. Yet the use of Halley’s materials signifies that the traditional vocabulary of transcendental geometric abstraction has been deployed with a radically different intent.

Peter Halley was born in New York in 1953. He studied first at Yale University and then at the University of New Orleans where he received his MFA. A prolific colourist, he is also a respected art critic and theorist, revered for his essays and as the publisher of the magazine INDEX, which featured interviews of people in a wide range of creative fields. His paintings are found in collections worldwide including MoMA, New York, the Whitney Museum of American Art, New York, Solomon R. Guggenheim Museum, New York, Boston Museum of Fine Arts, Boston, Tate Modern, London, Stedelijk Museum, Amsterdam, Museo Nacional Centro de Arte Reina Sofia, Madrid, and the Museum of Contemporary Art, Tokyo, among many others. Halley is currently the subject of a major retrospective at the MUDAM Luxembourg focused on his formative works from the 1980s.