Sonnabend Gallery, New York Postmasters Gallery, New York (acquired from the above) Acquired from the above by the present owner in 1985
Exhibited
New York, Simon Watson, Re-Presenting the 80s, April 29 - May 26, 1989 (illustrated, titled as Prison with Underground Conduit) Modern Art Museum of Fort Worth, 10 + 10: Contemporary Soviet and American Painters, May 14, 1989 - November 21, 1990, no. 1, p. 111 (illustrated) Pully, FAE Musée d'Art Contemporain; Madrid, Museo Nacional Centro de Arte Reina Sofia; Amsterdam, Stedelijk Museum, Peter Halley: Oeuvres de 1982 à 1991, April 3 - November 1, 1992, p. 45 (illustrated, titled as Prison with Underground Conduit)
Literature
Anna Moszynska, Abstract Art, London, 1990, fig. 1, p. 6 (illustrated, cover) Cory Reynolds, ed., Peter Halley, Maintain Speed, New York, 2000, pp. 116, 197 (illustrated, titled as Prison with Underground Conduit) Tony Godfrey, Painting Today, New York, 2009, fig. 94, p. 77 (illustrated)
Catalogue Essay
"You don’t need any special virtuosity to make my paintings. Roll-a-Tex and Day-Glo are commercial techniques...I wanted to emphasize the physical signifiers in my paintings. When I wanted to show the ground plane, I put two canvases together. When I wanted to make the geometry feel architectural, I put stucco on it. So the signifiers in my paintings are physical rather than illusionistic. Traditionally, artists are celebrated because of their virtuosity. To me, virtuosity is a little anti-democratic." -Peter Halley