Peter Halley’s latest showhis first with Greene Naftaliwas spectacular, though severely and queasily so. Setting the tone for severity, the artist commandeered the Brutalist ambience of the gray, cinderblock-enclosed courtyard adjacent to the gallery entrance with a prominently placed, bodily scaled, faux-concrete-and-asphalt work from 1994, Cell with Conduit, thrust several inches out from the wall by a hefty steel armature. A distilled (one-cell, one-conduit), quintessential Halley composition that signaled, as always, a core contemporary paradoxthe isolating effect of mediated connectionthe work looked like a company logo emblazoning the facade of a sci-fi industrial complex. On the back wall just to the right, a large, reflective, metallic print bearing a one-to-one reproduction of the surface to which it was adhered, amplified the gathering sense of
Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.
Not registered for artforum.com?
SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*
* This rate applies to U.S. domestic subscriptions.