Heterotopia I, exhibition catalogue, Flash Art, Milan.

Mangold Halley Modern Postmodern, exhibition catalogue, Maruani Mercier Gallery, Brussels.

Peter Halley: 23 June – 10 September, 2017, exhibition catalogue, Gary Tatinsian Gallery, Moscow.


Francesca Avanzini, The Presence of Peter Halley in Italy (1987–2016), PhD dissertation, Universita Cattolica Del Sacro Cuore Di Milano, Milan.

Peter Halley, Boats Crosses Trees Figures Gouaches 1977–78, exhibition catalogue, Karma, New York.

Peter Halley, Paintings from the 1980s, exhibition catalogue, Stuart Shave/Modern Art, London.


Richard Milazzo, Skewed: Ruminations on the Writings and Works of Peter Halley, exhibition catalogue,
Galleria Mazzoli, Modena, Italy.

Max Hollein, The Schirn Ring: Peter Halley, exhibition catalogue, Schirn Kunsthalle Frankfurt, Germany.

Geometry of the Absurd: Recent Paintings by Peter Halley, exhibition catalogue, Santa Barbara Museum of Art, Santa Barbara, CA.

Peter Halley: Metallic Paintings, exhibition catalogue, Jablonka Maruani Mercier Gallery, Knokke, Belgium.


Peter Halley, Gold, exhibition catalogue, Gary Tatintsian Gallery, Moscow.

Benjamin Colman, Peter Halley: Big Paintings, exhibition catalogue, Florence Griswold Museum, Old Lyme, CT.



Martin S. Fischer, Barbara Happe, Steffen Siegel, et al., Peter Halley—Prisons, exhibition catalogue, Friedrich Schiller University, Jena, Germany.

Jo Melvin, Peter Halley Since 2000, exhibition catalogue, Musée d’Art Moderne Saint-Etienne Métropole and Maruani & Noirhomme Gallery, Saint-Priest-en-Jarez, France and Brussels, Belgium.

Peter Halley, exhibition catalogue, Galerie Forsblom, Helsinki.


Richard Speer, Peter Halley, Alessandro Mendini, exhibition catalogue, Mary Boone Gallery, New York.

Klaus Steinmetz and Paolo Emilio Antognoli, Peter Halley: Recent Works, exhibition catalogue, Steinmetz Contemporary Art Gallery, San Jose, Costa Rica.

JoAnn Melvin, Peter Halley: Paintings 2012–2013, exhibition catalogue, Waddington Custot Galleries, London.


Peter Halley: 8 Small Prisons and Other Works, exhibition catalogue, Galeria Senda, Barcelona.


Peter Halley, exhibition catalogue, Galerie Alain Noirhomme, Brussels.

Peter Halley, exhibition catalogue, Galerie Forsblom, Helsinki.


Wayne Koestenbaum and Luca M. Yenturi, Peter Halley, exhibition catalogue, BSI Bank Art Collection, Turin, Italy.          

Demetrio Paparoni, Peter Halley: Works for Projects, exhibition catalogue, Galleria In Arco, Turin, Italy.


Peter Halley, exhibition catalogue, Waddington Galleries, London.

Peter Halley: Paintings, exhibition catalogue, McClain Gallery, Houston, TX.


Emmanuel Mavrommatis, Peter Halley, 1995–2005, exhibition catalogue, Galeri Xippas, Athens.

Peter Halley, exhibition catalogue, Galerie Forsblom, Helsinki.

V. Pazukov and Victoria Pukemova, Peter Halley, exhibition catalogue, Gary Tatintsian Gallery, Moscow.


Robert Hobbs, Peter Halley: Present and Past, exhibition catalogue, Louisiana Art and Science Museum, Baton Rouge, LA.

Peter Halley, exhibition catalogue, CAIS Gallery, Seoul.


Luca Beatrice, Peter Halley, exhibition catalogue, Galleria Cardi & Co., Milan.


Elisabeth Rackham, Peter Halley: Paintings, exhibition catalogue, Waddington Galleries, London.


Cory Reynolds, ed., Peter Halley: Maintain Speed (New York: Distributed Art Publishers, 2000).


Tai-gun Yun and So-Young Lee, Peter Halley, exhibition catalogue, CAIS Gallery, Seoul.

Gerhard Finckh, Peter Halley: Bilder der 90er Jahre, exhibition catalogue, Museum Folkwang, Essen, Germany.

Wayne Koestenbaum, Peter Halley, exhibition catalogue, Waddington Galleries, London.


Arturo Schwarz, Peter Halley: Utopia’s Diagrams, exhibition catalogue, Tema Celeste Editions and Gabrius Multimedia, Milan.

Midori Nishizawa, Peter Halley, Painting as Sociogram 1981–1997, exhibition catalogue, Kitakyushu Municipal Museum of Art, Kitakyushu, Japan.


Lauri Thompson, Peter Halley: Drawings 1991–1995, exhibition catalogue, Greenberg Van Doren Gallery, New York.


Peter Halley, exhibition catalogue, FAE Musée d’art contemporain, Pully-Lausanne, Switzerland.

Peter Halley, exhibition catalogue, Museo Nacional Reina Sofia, Madrid.     

Michael I. Danoff, Peter Halley: Paintings 1989–1992, exhibition catalogue, Des Moines Art Center, Des Moines, IA.


Peter Halley: Works from 1982–1991, exhibition catalogue (Bordeaux, France, CAPC Musée d'art contemporain)


Peter Halley: Recent Paintings, exhibition catalogue, Krefelder Kunstmuseen (Krefeld, Germany: Museum Haus Esters)




Pièces-Meublés, exhibition catalogue, (Paris: Galerie Patrick Seguin, 2019), 43.

The Sonnabend Collection, exhibition catalogue, (Saskatoon: Remai Modern, 2019), 92.

Open Outcome – New Works from the Collection, (Ulm: Kunsthalle Weishaupt, 2019), 42-43, 139.

Paul Crowther. Genesis of Postmodern Art: Technology as Iconology, (New York, NY: Routledge, 2018), 34. 


Barbara Happe and Martin S. Fischer, The Auerbach House by Walter Gropius with Adolf Meyer, (Berlin: Druckhaus Gera GmbH), 120-121. 

The ecolsion of abstraction: line and color in the IVAM collection, exhibition catalogue (Valencià: IVAM Institut Valencià d’Art Modern, 2017), 229

Vincent Bonin. Actors, Networks, Theories, exhibition catalogue, (Montréal: Black Dog Press, 2018), 119

Constructing a Collection, exhibition catalogue, (Rennes: Musée des Beaux-Arts, 2018)

Joe Lockard and Sherry Rankins-Robertson, Prison Pedagogies: Learning and Teaching with Imprisoned Writers, (Syracuse: Syracuse University Press, 2018), cover.

Vincent Bonin. Actors, Networks, Theories, exhibition catalogue, (Montréal: Black Dog Press, 2018): 119

Constructing a Collection, exhibition catalogue, (Rennes: Musée des Beaux-Arts, 2018)

Joe Lockard and Sherry Rankins-Robertson, Prison Pedagogies: Learning and Teaching with Imprisoned Writers, (Syracuse: Syracuse University Press, 2018): cover.

As Far as the Eye Can See, New Insight into the Würth Collection, exhibition catalogue (Künzelsau: Kunsthalle Würth, 2018), 28.

Mark W. Scala, Chaos and Awe Painting for the 21st Century, exhibition catalogue (Nashville: Frist Center for Visual Arts, 2018), 54.

Brand New: Art and Commodity in the 1980s, exhibition catalogue (Washington, D.C.: Hirshhorn Museum and Sculpture Garden, 2018), 40, 110, 111.


Art and Space, exhibition catalogue (Bilbao: Guggenheim Bilbao, 2017), 89-91.

Pride of Place: The Making of Contemporary Art in New Orleans, exhibition catalogue (New Orleans: New Orleans Museum of Art, 2017), 51.

Oguz Erten, ed., Collecting Art in Turkey with Examples from Private Collections (Istanbul: Galeri Baraz Yayinlari, 2017).

Eric de Chassey, L'Abstraction avec ou sans raisons (Paris: Éditions Gallimard, 2017), 50.

Günther Selichar: Who’s Afraid of Blue, Red and Green? (Vienna: Verlag für moderne Kunst, 2017), 182.

Hu Hanru and Luigia Lonardelli, Please Come Back: The World as Prison?, exhibition catalogue, MAXXI, Rome (Milan: Mousse Publishing, 2017).

Fast Forward: Painting from the 1980’s, exhibition catalogue (New York: Whitney Museum of American Art, 2017).


Lynn Boland, Paper in Profile: Mixografia and Taller de Gráfica Mexicana, exhibition catalogue (Athens, GA: Georgia Museum of Art, University of Georgia, 2016).

Summer Rental: The Marx Collection Sammlung Marx as a Guest in Breslau, exhibition catalogue (Berlin: Hamburger Bahnhof Museum, 2016).

Peter Halley and Pietro Roccasalva: The Awakening, exhibition catalogue, Mottahedan Projects (Dubai: Akkadia Press, 2016).

The Sonnabend Collection Part 1, exhibition catalogue (Porto, Portugal: Fundação de Serralves, 2016), 122, 123.

Martin Hentschel, The Adventure of our Collection. Art after 1945 from the Kunstmuseen Krefeld, exhibition catalogue (Cologne: Wienand, 2016), 270, 271.


Barbara Bergmann, I like America, exhibition catalogue, Schauwerk Sindelfingen (New York; Bielefeld, Germany: DAP; Kerber, 2015), 57, 137.

Geometric Obsession: American School 1965–2015 (Buenos Aires: Museo de Arte Contemporáneo de Buenos Aires, 2015), 169, 217.

Enrique Juncosa, Three Narratives: Language, exhibition catalogue (Barcelona: Obra Social "la Caixa," 2015), 28–29.

Richard Milazzo, The Mannequin of History: Art After Fabrications of Critique and Culture, exhibition catalogue, Expo 2015, (Modena, Italy: Franco Cosimo Panini, 2015), 185–187.

Iwona Blazwick, ed., Adventures of the Black Square: Abstract Art and Society 1915–2015, exhibition catalogue, Whitechapel Gallery, London (London; Munich: Whitechapel Gallery; Prestel Verlag, 2015), 41, 270, 279.


Marcus Graf, Papko Art Collection (Istanbul: Papko Art Collection, 2014).

Juan Roselione-Valadez, ed., Rubell Family Collection Highlights & Artists’ Writings, Volume 1 (Miami: Rubell Family Collection/Contemporary Arts Foundation, 2014), 120–121.

Cellblock I and Cellblock II, exhibition catalogue (New York: Andrea Rosen Gallery, 2014), 20, 23, 24, 29, 41, 48–49, 50, 66–67.

Amy Brandt, Interplay: Neoconceptual Art of the 1980s (Cambridge: MIT Press, 2014), 1–5, 7–8, 12–14, 18–22, 28, 30–33, 36, 145–146, 151, 153–161.

Kata Bodor, David Fehér, Katrin Heidt, et. al., Constructive/Concrete: International Artists in the Vass Collection, exhibition catalogue (Budapest: ART V. PREMIER, 2014), 150–153.

Brandon K. Ruud and Gregory Nosan, eds., Painting from the Collection of the Sheldon Museum of Art, (Lincoln and London: University of Nebraska Press, 2014), 228–229.

Marco Livingstone, ed., Post Pop: East Meets West, exhibition catalogue, Saatchi Gallery (London: CentreInvest UK Limited, 2014), 15, 60, 134–135.

Emma Dexter, Mark Prince, Pierre-Olivier Rollin,, Man in the Mirror, exhibition catalogue, Vanhaerents Art Collection, Brussels (Tielt, Belgium: Lannoo Publishing. 2014), 68, 102–104, 111.

Robert Storr, et al., 30 Years, Cartier Foundation for Contemporary Art, Volume 2, Album (1984–2014), exhibition catalogue (Paris: Fondation Cartier pour l’art contemporain, 2014), 176, 183, 361–363.

Udo Kittelmann and Gabriele Knapstein, eds., Wall Works: Working with the Wall Since the 1960s, exhibition catalogue, Hamburger Bahnhof Museum für Gegenwart (Bielefeld, Germany: Kerber Verlag, 2014), 51–53, 132–133, 150.

Mario von Lüttichau, Asja Kaspers and Marcel Schumacher, eds., Museum Folkwang: Painting & Sculpture 19th–21st Century (Essen; Munich: Museum Folkwang; Sieveking Verlag, 2014), 281, 294.


Sarah Trigg, Studio Life: Rituals, Collections, Tools, and Observations on the Artistic Process (New York: Princeton Architectural Press, 2013), 183.

Massimo Minini, 40 Years, (Brescia, Italy: Gallery Minini, 2013) 275, 276, 277-279.

Maria Lind, ed., Abstraction: Documents of Contemporary Art (London: Cambridge: Whitechapel Gallery; The MIT Press, 2013), 17–18, 54, 137–143, 146, 149.

Ann Fensterstock, Art on the Block: Tracking the New York Art World from SoHo to the Bowery, Bushwick and Beyond (New York: Palgrave Macmillan, 2013), 93, 114–115, 125.

Stuart Sim, Fifty Key Postmodern Thinkers (New York: Routledge, 2013), 13, 124–129, 196.

Yahși Baraz and Oğuz Erten, Artists, Gallerists, Collectors (Istanbul: Galeri Baraz, 2013), 44–47.

Giancarlo Politi, Prague Biennale 6 Prague Biennale Photo 3, exhibition catalogue (Milan: Giancarlo Politi Editore, 2013), 50–51.

Hélène Trespeuch, The abstract art crisis? Narratives and critic in France and the United States in the 1980s (Rennes, France: Presses Universitaires de Rennes, 2013).

Lea Rosson DeLong, ed.,Des Moines Art Center Collects (Des Moines, IA: Des Moines Art Center, 2013).

Giovanni Iovane, Negative Capability—Paintings (Milan: Silvana Editoriale, 2013).

Siegfried Weishaupt, American Idols: From Basquiat to Warhol, n. 8, exhibition catalogue (Ulm, Germany: Kunsthalle Weishaupt, 2013).

Joe Day, ed., Corrections & Collections: Architectures for Art and Crime (New York: Routledge, 2013), 19–22.

Karlyn De Jongh, Sarah Gold, et al, Personal Structures: Time Space Existence (Cologne, Germany: Global Art Affairs Foundation, 2013), 178–181.

Ingvild Goetz, Karsten Löckemann, et al, When Now is Minimal, The Unknown Side of the Goetz Collection, exhibition catalogue, Neues Museum, Nuremberg, Germany (Ostfildern, Germany: Hatje Cantz Verlag, 2013).

John Kenneth Galbraith and Nicole Salinger, Almost Everyone’s Guide to Economics (Paris: Éditions du Seuil, 2013), cover.

 Painting Today, exhibition catalogue, Kunstmuseum Kloster Unser Lieben frauen Magdeburg (Berlin: Jovis Verlag, 2013), 54–65.


Joe Houston, ed., Geometric Abstraction Since 1950: Global Exchange (Buenos Aires: MACBA Ediciones, 2012), 69, 188–189.

Timothée Chaillou, ed., Issue 5: Annual Magazine (Nicosia, Cyprus: A.P.C. Trading Ltd, 2012).

Louis Grachos and Claire Schneider, Extreme Abstraction: Revisited, exhibition catalogue (Buffalo, NY: Albright-Knox Gallery, 2012), 69.

James Rondeau and Sheena Wagstaff, Roy Lichtenstein: A Retrospective, exhibition catalogue (Chicago: Art Institute of Chicago, 2012), 81–82, 87.

Jorge Daniel Veneciano, The Geometric Unconscious: A Century of Abstraction (Lincoln, NE; London: University of Nebraska Press, 2012), 56–71.

Jeffrey Kastner, ed., Nature: Documents of Contemporary Art (Cambridge, MA: MIT Press, 2012).

Helen Anne Molesworth, Johanna Burton, and Claire Grace, This Will Have Been: Art, Love & Politics in the 1980s, exhibition catalogue (Chicago: Museum of Contemporary Art Chicago, 2012).


Ken Johnson, Are You Experienced? (Munich; London; New York: Prestel Publishing, 2011), 154.

Mark Vanmoerkerke, Vanmoerkerke Collection (Brussels: Rispoli Books, 2011).

Gianni Mercurio, Surreal versus Surrealism in Contemporary Art, exhibition catalogue, Institut Valencià d’Art Moderne (Valencia, Spain: IVAM, 2011), 45, 141.

Karlyn De Jongh and Sarah Gold, Personal Structures, The Venice Biennale, exhibition catalogue (Bonn, Germany: Global Art Affairs Foundation, 2011), 42–47.

Richard Milazzo, Peter Nagy: Entertainment Erases History—Works 1982–1990, exhibition catalogue (Brooklyn, NY: EISBox Projects, 2011).

Fabrizio Luccio, Linda Pagli, and Graham Steel, Mathematical and Algorithmic Foundations of the Internet (Boca Raton, FL: CRC Press; Taylor & Francis Group, 2011), 35–36.

Consuelo Ciscar Casaban and Francisco Calvo Serraller, Masterpieces of Painting in the Collection of IVAM. Past, Present and Future, exhibition catalogue, Institut Valencià d’Art Moderne (Valencia, Spain: IVAM, 2011), 160–261.

George Melrod and Christopher Miles, Goldmine: Contemporary Works From The Collection Of Sirje And Michael Gold, exhibition catalogue (Long Beach, CA: University Art Museum, 2011), 69.


Elyssa Dimant, Minimalism and Fashion: Reduction in the Postmodern Era (New York: Collins Design, 2010), 204–206.

Keith Mayerson, ed., NeoItegrity: Comics Edition, exhibition catalogue, Museum of Comic and Cartoon Art (New York: MoCCA, 2010), 8–23, 289, 703.

Schauwerk Sindelfingen: 100 artists—100 works—100 positions, collection catalogue (Cologne, Germany: DuMont Buchverlag; the Schaufler Foundation, 2010), 58–59.

Reinhard Onnasch, Susanne Lenze, and Susanne Jensen, El Sourdog Hex: Nineteen Artists, exhibition catalogue (Bielefeld, Germany: Kerber Verlag, 2010), 160–171.

Thomas Kellein, ed., The 80s Revisited: Collection Bischofberger, exhibition catalogue (Cologne, Germany: DuMont Buchverlag, 2010), 262–275.

Jorg Schellmann and Julienne Lorz, Forty Are Better Than One (Ostfildern, Germany: Hatje Cantz, 2010), 132–133, 378, 401.

Global New Art: Taguchi Art Collection #01 (Tokyo: Bijutsu Shuppan-Sha Co., 2010), 47–48.

David Rubin, Robert C. Morgan, and Daniel Pinchbeck, Psychedelic: Optical and Visionary Art since the 1960s, exhibition catalogue (San Antonio; Boston: San Antonio Museum of Art; MIT Press, 2010), 25, 45, 74.


Karlyn De Jongh, Personal Structures: Time Space Existence (Cologne, Germany: DuMont Buchverlag, 2009), 276–281.

Paul Ardenne, The Present: The Work of Art at the Turn of the 21st Century (Paris: Edition Du Regard, 2009), 168.

Christian Bjone, Art and Architecture (Basel; Boston; Berlin: Birkhauser Verlag AG, 2009), 172.

Marco Meneguzzo, The 80’s: An Italian Perspective, exhibition catalogue (Milan: Silvana Editoriale, 2009), 188–189.

Charlotte Bonham-Carter and David Hodge, The Contemporary Art Book (London: Carlton Books, 2009), 97.

Christian Rattemeyer, The Judith Rothschild Foundation Contemporary Drawings Collection, catalogue raisonné (New York: The Museum of Modern Art, 2009), 138.

Tony Godfrey, Painting Today (New York: Phaidon, 2009).

Louis Negre and Sean J. Rose, When the First Intoxication of Loud Success…, exhibition catalogue (Bordeaux, France: CAPC Museum of Contemporary Art, 2009), 27.

Yves Aupetitallot, Images and (Re)presentations: The Eighties, Second Part, exhibition catalogue, Le Magasin (Grenoble, France: National Center of Contemporary Art, 2009).

Katherine Hinds, Kertess Klaus, Martin Margulies and Peter Plagens, The Martin Z. Margulies Collection: Painting and Sculpture (Miami, FL: The Martin Z. Margulies Foundation, 2009).


Rifat Sahiner, Post-Modern Ruptures in Art: The Deconstruction of the Modern (Istanbul: Yeni İnsan Publishing, 2008), 163–165, 185–186.

Reset: Works from the Marx Collection, exhibition catalogue (Berlin: Hamburger Bahnhof Museum für Gegenwart, 2008), 46.

Ruth Fine, Fifty Works for Fifty States: The Dorothy and Herbert Vogel Collection, exhibition catalogue (Washington D.C.: The National Gallery of Art, 2008), 188.

Gianni Mercurio, The Big Bang, exhibition catalogue (Rome: Museo Carlo Bilotti, 2008), 72–83.

“Contemporary Art,” The Columbia Encyclopedia, Sixth Edition (New York: Columbia University Press, 2008).

Georg Frei, Abstract Vision, exhibition catalogue (Zurich: Thomas Ammann Fine Art AG, 2008), 16–17.

Mike Evans, Defining Moments in Art: Over a Century of the Greatest Artists, Exhibitions, People, Artworks and Events that Rocked the World (London: Cassell Illustrated, 2008), 686.


Twenty Years with Friends: 1987–2007, exhibition catalogue (Turin: Galleria In Arco, 2007).

27th Biennial of Graphic Arts, exhibition catalogue, International Centre of Graphic Arts (Ljubljana: Mednarodni grafični likovni center, 2007), 168–171.

Create Your Own Museum, exhibition catalogue (Moscow: Gary Tatintsian Gallery, 2007), 91–94.

Passion for Art: 35th Anniversary of the Essl Museum Collection, exhibition catalogue (Vienna: Edition Sammlung Essl, 2007), 201.

Joe Houston and Dave Hickey, Optic Nerve: Perceptual Art of the 1960s, exhibition catalogue, Columbus Museum of Art (London: Merrell Publishers, 2007).

Christophe Cherix and John Tremblay, Plastic: A Proposal of John Tremblay, exhibition catalogue, Musée d’Art et d’Histoire (Geneva: Cabinet des Estampes, 2007), 6, 8–11.

Renate Wiehager and Claudia Seidel, Minimalism and After: Tradition and Tendencies of Minimalism from 1950 to the Present, exhibition catalogue (Ostfildern, Germany: Hatje Cantz Verlag, 2007), 289–290.

Susanna Luoto, ed., Galerie Forsblom: Since 1977 (Helskinki: Galerie Forsblom, 2007), 5, 81, 142–143.

Jeane Freifrau Von Oppenheim, ed., Sal. Oppenheim: 10 Years Collection (Luxembourg: Sal. Oppenheim Jr. & Cie. Luxembourg S.A., 2007), 226.

Masterpieces, CAPC Bordeaux Museum of Contemporary Art (Bordeaux, France: CAPC Musée d'art Contemporain de Bordeaux, 2007), 144–145.

Rebecca Roberts, MoMA: Highlights since 1980 (New York: The Museum of Modern Art, 2007), 152.

Ali Gureli, Contemporary Istanbul, catalogue (Istanbul: Contemporary Istanbul Art Fair, 2007).

David Campbell and Mark Durden, Variable Capital (Liverpool, UK: Liverpool University Press, 2007).


Jo-Anne Birnie Danziger, ed., Villa Stuck (Ostfildern, Germany: Hatje Cantz Verlag, 2006), 366.

Ideas in Painting: Hommage to Martin Barre, exhibition catalogue (Paris: Galerie Nathalie Obadia, 2006), 32–33.

Pop Art 1960s–2000s: From Lichtenstein, Warhol to the Current Generation, exhibition catalogue (Tokyo: Yomiuri Shimbun and Japan Association of Art Museums, 2006), 46–47.

Ruth Erickson, ed., 30 Years of New Graphics From The Jewish Museum, exhibition catalogue, Firehouse Gallery and Burlington City Arts (Burlington, VT: Burlington City Arts, 2006), 50–51.

Mark A. Cheetham, Abstract Art Against Autonomy: Infection, Resistance, and Cure Since the 60s (New York: Cambridge University Press, 2006).


Nobyuki Hiromoto and Azumi Akai, eds., Contemporary Voices: Contemporary Art from Misumi Collection (Tottori, Japan: Tottori Prefectural Museum and Japan Association of Art Museums, 2005), 48–49.

Francesca Richer and Matthew Rozenzweig, eds., No. 1: First Works by 362 Artists (New York: Distributed Art Publishers, 2005), 143.

Louis Grachos and Claire Schneider, Extreme Abstraction, exhibition catalogue (Buffalo, NY: Albright-Knox Art Gallery, 2005).

Marc Glimcher, Bernice Rose, et al, Logical Conclusions: 40 Years of Rule-Based Art, exhibition catalogue (New York: Pace Wildenstein, 2005), 112–113.

Johannes Meinhardt, ed., Painting: Abstraction After Abstraction (Lisbon, Portugal: Coleção de Arte Contemporanea Publico, 2005), 103, 132–133.

Vicky Perry, Abstract Painting: Concepts and Techniques (New York: Watson Guptill, 2005).

Tilman Baumgärtel, Net.Art.2.0: New Materials Towards Art (Nuremberg, Germany: Verlag für Moderne Kunst, 2005).

David Moos, ed., The Shape of Colour: Excursions in Colour Field Art 1950–2005, exhibition catalogue (Toronto: Art Gallery of Toronto, 2005).

Philipp Kaiser, Flashback: Revisiting the Art of the 80’s, exhibition catalogue (Ostfildern-Ruit; Basel: Hatje Cantz; Kunstmuseum Basel, Museum für Gegenwartskunst, 2005).


Dan Cameron, Liza Kirwin, Alan W. Moore, East Village USA, exhibition catalogue (New York: New Museum of Contemporary Art, 2004), 143.

Mary Anne Redding, Visions of America: American Art and Identity, exhibition catalogue (Vienna: Sammlung Essl Museum, 2004), 141, 255.

Judith Richards, ed., Inside the Studio: Two Decades of Talks with Artists in New York (New York: Independent Curators International, 2004), 30–33.

Nancy Spector and Lisa Dennison, Singular Forms (Sometimes Repeated): Art from 1951 to the Present, exhibition catalogue (New York: Solomon R. Guggenheim Museum, 2004).

Starr Figura, Artists and Prints: Masterworks from the Museum of Modern Art (New York: The Museum of Modern Art, 2004).

Jeffrey Deitch, ed., Monument to Now: The Dakis Joannou Collection, exhibition catalogue (Athens: DESTE Foundation for Contemporary Art, 2004).


David Joselit, American Art Since 1945 (New York: Thames and Hudson, 2003), 200–202.

Georges Armaos, Postimpact = Homadikē apostolē (Athens: Portalakis Collection, 2003), 33–40.

Alison Pearlman, Unpackaging Art of the 1980s (Chicago: University of Chicago Press, 2003).


Adam D. Weinberg, Treasures of the Addison Gallery of American Art (New York: Abbeville Press, 2002), 251.

Midori Matsui, Art in a New World (Tokyo: Asahishuppansha, 2002).

Barry Schwabsky, Vitamin P: New Perspectives in Painting (New York: Phaidon Press, 2002).

Demetrio Paparoni, “Art, Space, and its Repetition,” Lucio Fontana, exhibition catalogue, Galleria In Arco
(Turin: Galleria in Arco, 2002).

Misumi Shōji, Nobuyuki Hiromoto, et al, We love painting!: Contemporary American Art from the Misumi Collection, exhibition catalogue (Tokyo: Misumi, 2002).


Sheila Schwartz, American Visionaries: Selections from the Whitney Museum of American Art, exhibition catalogue (New York: Whitney Museum of American Art, 2001), 127.

Tilman Baumgartel, NET.Art 2.0: New Materials Towards Net Art (Nuremburg, Germany: Verlag für Moderne Kunst, 2001).

Amy Cappellazzo, Jessica Hough, et al, Glee: Painting Now (Ridgefield, CT: Aldrich Museum of Contemporary Art, 2001).

Bonnie Clearwater, Mythic Proportions: Painting in the 1980s, exhibition catalogue (North Miami, FL: Museum of Contemporary Art, 2001).


Alfred Nemeczek, The Picture of Art (Hamburg, Germany: Verlag Gruner + Jahr, 2000).

Matthew Collings, This is Modern Art (New York: Watson-Guptill Publications, 2000).


David Rimanelli; Jörg Schellmann, et al, Wall Works, exhibition catalogue (Munich: Edition Schellmann, 1999).

Matthew Collings, “Life of Riley: Peter Halley,” It Hurts: New York Art from Warhol to Now (London: 21 Publishing, 1999).

Alfred Nemeczek, Das Bild der Kunst: 20 Jahre Art das Kunstmagazin (Cologne, Germany: DuMont Buchverlag, 1999).


Charles Riley, The Saints of Modern Art: The Ascetic Ideal in Contemporary Painting, Sculpture, Architecture, Music, Dance, Literature, and Philosophy (Hanover, NH: University Press of New England, 1998).

Maria de Corral, Anos 80 = The Eighties, exhibition catalogue (Lisbon, Portugal: Culturgest, 1998).


Demetrio Paparoni, Theory and its Double, exhibition catalogue (Brescia, Italy: Galleria Massimo Minini, 1997).


Hal Foster, The Return of the Real (Cambridge, MA: MIT Press, 1996).

Susan C. Faxon, Avis Berman, and Jock Reynolds, Addison Gallery of American Art: 65 Years: A Selective Catalogue, exhibition catalogue (Andover, MA: Addison Gallery of American Art, 1996).

Irving Sandler, Art of the Postmodern Era: From the Late 1960s to the Early 1990s (New York: Harper Collins, 1996).


Charles A. Riley, Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Literature, Music, and Psychology (Hanover, NH: University Press of New England, 1996), 193–195.

Carlos Basualdo, American Non-Representative Painting, exhibition catalogue, Museo de Arte y Diseño Contemporaneo (San Jose, Costa Rica: Museo de Arte y Diseño Contemporaneo, 1995).


Tricia Collins and Richard Milazzo, Who’s Afraid of Duchamp, Minimalism, and Passport Photography?, exhibition catalogue
(New York: Annina Nosei Gallery, 1992).


Tricia Collins and Richard Milazzo, Who Framed Modern Art or the Quantitative Life of Roger Rabbit, exhibition catalogue (New York: Sidney Janis Gallery, 1991).

Jock Reynolds, American Abstraction at the Addison, exhibition catalogue (Andover, MA: Addison Gallery of American Art, 1991).

Selection, exhibition catalogue (Pully/Lausanne, Switzerland: FAE Musee d’art contemporain, 1991).

Richard Armstrong, 1991 Biennial Exhibition (New York: Whitney Museum of American Art, 1991).


Edward Lucie-Smith, Art in the Eighties (New York: Phaidon Press, 1990).

Giancarlo Politi and Helena Kontova, eds., Flash Art: Two Decades of History, XXI Years (Cambridge, MA: MIT Press, 1990), 178.

Yves J. Hayat and Florette Camard, Art Collectors, Volume 2 (Paris: Editions Numero 5, 1990), 206–219.

Eleanor Heartney, Judith Russi Kirshner, et al, The Refco Collection (Chicago: Refco Group, 1990), 70–71.

Anna Moszynska, Abstract Art (World of Art) (London: Thames and Hudson, 1990), cover, 6, 227–228.


Bernhard Bürgi, 256 Colors & Basics on Form (Zurich: Konstruktive und Konkrete Kunst Zurich, 1989), 25–26.

10 + 10: Contemporary Soviet and American Painters, exhibition catalogue, Modern Art Museum of Fort Worth (New York: Harry N. Abrams, 1989).

Christian Leigh, ed., The Silent Baroque, exhibition catalogue (Salzburg, Austria: Thaddeus Ropac, 1989).


Tricia Collins and Richard Milazzo, “Terminal Access,” in Art at the End of the Social, exhibition catalogue (Malmö, Sweden: The Rooseum, 1988).

Maurice Besset, La Couleur Seule: L’Experience du monochrome, exhibition catalogue (Lyon: Octobre des arts, 1988).

John Caldwell, Sarah McFadden, and Joan Simon, Carnegie International, exhibition catalogue (Pittsburgh, PA: Carnegie Museum of Art, 1988).

Jeanne Siegel, Art Talk: The Early 80s (New York: Da Capo Press, 1988).

Trevor Fairbrother, BiNational: American Art of the Late 80s, German Art of the Late 80s, exhibition catalogue, Museum of Fine Arts, Boston, Institute of Contemporary Art, Boston (Cologne, Germany: DuMont, 1988), 95–101.

Rainer Crone, Similar/Dissimilar, exhibition catalogue, Columbia University, Sonnabend Gallery, and Leo Castelli Gallery,
New York; Staedtische Kunsthalle Dusseldorf, Germany (New York, Rizzoli, 1988).


Tricia Collins and Richard Milazzo, Extreme Order: Cemin, Gober, Halley, Lemieux, Steinbach, exhibition catalogue (Naples: Lia Rumma Gallery, 1987).

New York Now, exhibition catalogue (Jerusalem: Israel Museum, 1987).

Richard Armstrong, 1987 Biennial Exhibition, exhibition catalogue (New York: Whitney Museum of American Art in association with W.W. Norton, 1987).

Michael Auping, Abstraction, Geometry, Painting: Selected Geometric Abstract Painting in America Since 1945, exhibition catalogue (New York: H.N. Abrams; Albright-Knox Art Gallery, 1987).

Dan Cameron, NY Art Now: The Saatchi Collection, exhibition catalogue, Saatchi Gallery, London (Milan: Politi, 1987).


Yve-Alain Bois, Endgame: Reference and Simulation in Recent Painting and Sculpture, exhibition catalogue (Boston: Institute of Contemporary Art, 1986).

Gabriele Guercio, Rooted Rhetoric: A tradition of Art in America, exhibition catalogue, Castel Dell'Ovo, Naples, Italy (Naples: Guida, 1986).

Jerry Saltz, Roberta Smith, and Peter Halley, Beyond Boundaries: New York's New Art (New York: A. van der Marck Editions, 1986).


Alan Belcher, Infotainment, exhibition catalogue, Rhona Hoffman Gallery, Chicago, Texas Gallery, Houston (New York: J. Berg Press, 1985).

David Joselit, Currents: Peter Halley, exhibition brochure (Boston: Institute of Contemporary Art, 1985).


Christopher C. Cook and Kyra Montagu, Tradition, Transition, New Vision: An Exhibition of Painting, Sculpture, Drawing, Film, Photography and Video by 38 Artists Who Are Alumni/ae of Abbot and Phillips Academy 1954–1974, exhibition catalogue (Andover, MA: Addison Gallery of American Art, 1983).



Plunged into the ‘other world’ of Peter Halley.” Arteez., August 2019.

Eda Vujevic. “A painter who loves prisons.” Slobodna Dalmacija, Crotia (02 July 2019): 33.

Phillipo Piva. “Peter Halley brings to the Venice Biennale his own conception of Heterotopia.” GQ Italia., 8 May 2019.

Elena Sorokina. “A Telephone and A Maze: Peter Halley’s Alchemical Absractions.” Flash Art Magazine, n. 325, vol. 52, (April – May, 2019): 66-83.

Mark Westfall. “Peter Halley and Ugo Rondinone ‘Still’ a two-person dialogue.” FAD Magazine., 27 Mar. 2019.

Sam Korman. Flash Art Magazine, n. 324, Vol. 52, (Feb – March, 2019): 105-106

Ara Merjian. “Peter Halley.” Art in America., 1 Feb. 2019.


Will Heinrich. “The Week in Arts: Alvin Ailey, The Internet and Florence Prince.” The New York Times., 23 Nov. 2018. 

Butterlin, Alice. “Peter Halley.” Crash Magazine, Paris (September 2018): 46-51.

Waligore, Athena. “Peter Halley Sets New York’s Lever House Aglow in Electric Yellow.” Interior Design., 8 Oct. 2018.

Lorent, Claude. “Les réseaux de l’isolement et de la communication.” La Libre, Brussels (26 Sept. 2018).

McGrath, Katherine. “Peter Halley Transforms Lever House for his Largest Installation to Date.” Architectural Digest., 24 Sept. 2018. 

 Chouinard, Haley. “How Artist Peter Halley’s new Show Will Dazzle a Whole New Generation.”Galerie Magazine., 20 Sept. 2018.

Felsenthal, Julia. “An Art-World Lion Finds a Den in a Midcentury Landmark.” New York Times Style Magazine., 14 Sept. 2018. 

Armstrong, Annie. “Lever House Art Collection Names Roya Sachs Curator, Peter Halley Show on Tap.” Artnews,, 23 Aug. 2018. 

Ingrid Luquet-Gad. “Peter Halley, an artist still as current and influential.” Les Inrockuptiles, Paris (17 Jul. 2018): 92

Henri-François Debailleux. “Peter Halley’s Stickers.” Le Journal des Arts, Paris, (22 Jun. 2018): 32. 

“Halley, 28 Geometries for Cleto Munari.” Il Giornale di Vicenza, Vicenza (20 Jun. 2018).

Judicaël Lavrador. “Peter Halley’s Magnetic Cells.” Libération, Paris,(18 Jun. 2018): 28. 

M.H. Miller, “The Artists who Defined the East Village’s Avant-Garde Scene,” The New York Times Style Magazine, (22 Apr 2018): 102.

“Peter Halley on Paul Klee’s Painting ‘Über Bergeshöhe’,” Monopol (Apr 2018): 36.

Abid Rahman, “Art Basel Hong Kond Opens With Record Sale, Jeff Koons,” Hollywood, 29 Mar 2018.

Jason Stopa, “Painting as Total Environment,”, 6 Jan 2018.


Andrew Kuo, “Peter Halley, Ground Floor at Greene Naftali Gallery in New York,” Artsy,, 25 Dec 2017.

Jeff Gibson, “Peter Halley, Greene Naftali,” Artforum (Dec 2017): 196.

Sarah Thornton, “Artistic Triumph,” Architectural Digest (Aug 2017): 62–73.

Jennifer Blaise Kramer, “Design,” Santa Barbara Magazine (2017): 79–84.

Tom Morton, “Peter Halley, Stuart Shave/Modern Art, London, UK,” Frieze (May 2017): 216–217.

“Peter Halley,” The New Yorker, 27 Mar 2017, 12.

Wendy Vogel, “Mono: Peter Halley,” Kaleidescope, n. 29 (Mar 2017), 108–131.

Tom Morton, “Peter Halley, Stuart Shave/Modern Art, London, UK,” Frieze (online edition),, 21 Feb 2017.

Clovis Bataille, “Peter Halley ‘Paintings from the 1980s’ Exhibition at Modern Art, London,” Purple Magazine (online edition),, 10 Feb 2017.

Efi Michalarou, “ART-PRESENTATION: Peter Halley-Paintings from the 1980s,” Dream Idea Machine,, Jan 2017.

 “Peter Halley at Modern Art, London,” Blouin Art Info,, 27 Jan 2017.


Jeremy Sigler, “Eli Broad’s Selfie-Dome,” Tablet v. 2, n. 4 (Hanukkah 2016), 73–79.

Giancarlo Papi, “Modena: Halley and the Abstract Beauty of Circuits, “ Avvenire, Milan, Italy, 16 Dec 2016, 14.

Eugenio Viola, “Peter Halley in Modena,” Arte (Dec 2016): cover, 85–89.

Donatien Grau, “Sylvère Lotringer,” Purple Magazine, n. 26 (Fall/Winter 2016), 429–439.

Joseph Wolin, “Every Future Has A Price: 30 Years After Infotainment,” Time Out New York (online edition),, 1 Nov 2016.

Rüdiger Heise, “Eyecatcher,” Applaus (Oct 2016): 54.

Nicola Trezzi, “The Art Dealers Finding Alternatives to the Gallery Model,” Artnet,, 14 Sep 2016.

Shana Nys Dambrot, “This Family of Mexican Printmakers Changed the Art World,” LinkTV,, 8 Sep 2016.

Robert McClain, “Billionaires, Train Encounters and Mega Buys: An Art Dealer Takes Us Inside the International Dealings of Art Basel,” Paper City,, 5 Sep 2016.

D. Crehan, “New York—‘Bad Faith’ at James Fuentes through September 11th, 2016,” Art Observed,,
30 Aug 2016.

Karen Rosenberg, “What to See in New York Art Galleries This Week,” New York Times, 25 Aug 2016, C25.

“Bad Faith,” Goings on About Town: Art, The New Yorker (Online edition),, Aug–Sep 2016.

Pao Pobric, “Bad Faith,” Village Voice,, Aug 2016.

Brian Slattery, “Picture Meets Sound,” New Haven Independent,, 21 June 2016.

Kenny Schachter, “Kenny Schachter Declares Basel the New Art Hajj,” ArtNet,, 17 June 2016.

Susan Dunne, “Arts & Ideas Hosts Two Music-Inspired Exhibits,” Hartford Courant,, 13 June 2016.

Sonia Kolesnikov-Jessop, “8 Highlights from Art Basel Unlimited 2016,” Blouin Artinfo,, 13 June 2016.
Katharina Knacker, “Geometry and Suppression,” Schirn Mag,, 10 June 2016.

Danny Lewis, “Wander About an Art Installation Inspired by the Large Hadron Collider,” Smithsonian (Online edition),, 16 May 2016.

Michael Hierholzer, “Kunsthalle Schirn: Explosions and Bars,” Frankfurter Allgemeine Zeitung, 13 May 2016, Rhein-Main Section.

Jamie Condliffe, “This Huge Art Installation Is Inspired By The LHC,” Gizmodo India,, 13 May 2016.

Rudolf Schmitz, “Peter Halley—The Schirn Ring,” SWR1 Kulturthema,, 11 May 2016.

Eric Ulrich, “Art Brussel Profile III: Artist Peter Halley’s Metallic Paintings,” Art and Only,, 2 May 2016.

“The Art Weeks is staged at the Park Hyatt Milan,” Arte Magazine,, 7 Apr 2016.

Josep Casamartina, “Diasporas,” El País Catalunya, Barcelona,, 10 Feb 2016. 

Imma Prieto, “Meeting Structures,” La Vanguardia, Barcelona, 6 Feb 2016, 20.

Marcos Fernández, “Abstraction unites Yago Hortal and Peter Halley at Senda Gallery,” Blouin Artinfo España,, 1 Feb 2016.

Bonart, n. 173 (Feb–Apr 2016): cover, ill. (color).

Montse Frisach, “Grand Explosion of Color by Four Hands,” El Punt Avui, Barcelona, 30 Jan 2016, 12.


Charles Donelan, “Peter Halley at SBMA,” The Santa Barbara Independent, Santa Barbara, CA,, 16 Dec 2015.

Alessio Ascari, “Surf,” Kaleidoscope, n. 25 (Nov 2015): 164–171.

Dimitris Lempesis, “Art-Tribute: Peter Halley—Geometry of the Absurd,” Dream Idea Machine,,
24 Nov 2015.

Ted Mills, “Peter Halley’s techno prisons,” Scene Magazine, Santa Barbara, CA, 11 Nov 2015, 44.

Ken Johnson, “Cats, Monsters and Detonations at the Park Avenue Armory’s Print Fair,” The New York Times, 6 Nov 2015, C28.

Katrina Carl, “SBMA Presents Painter Peter Halley for Artist Talk, First Solo Museum Exhibition in the Western U.S.,” Noozhawk,, 27 Oct 2015.

Nicola Trezzi, “Diagonal Histories,” Art + Text,, 10 Oct 2015.

Anne Katrin Fessler, “Galeries in Salzburg: Extreme Blender and Steep Forms,” Der Standard,, 15 Aug 2015.

Brita Sachs, “Holy Father, Such as Neon Lights, Perceptual Color,” Frankfurter Allgemeine Zeitung,, 12 Aug 2015.

Susanne Rohringer, “Loud Smile,” artmagazine,, 6 Aug 2015.

Cristina Guadalupe Galván, “Colour Surfacing, Peter Halley’s 2D World,” DAMN Magazine, no. 51 (Jul–Aug 2015): 64–67.

Gudrun Weinzierl, “Geometry is Everywhere,” Salzburger Nachrichten, 30 July 2015, 8.

Roberta Smith, “Bonsai #5,” The New York Times, 24 July 2015, C20.

Ingeborg Ruthe, “Fluorescent Cells, A Trio Recorded in the July Show ‘Forming Loose’ at Galerie Jette Rudolph,”
Berliner Zeitung, n. 163, 16 July 2015.

Sharon Butler, “Peter Halley: Hyperreal,” Huffpost Arts & Culture,, 20 June 2015.

“Glenn Lowry with Joachim Pissarro, Gaby Collins-Fernandez, and David Carrier,” The Brooklyn Rail, 6 May 2015.

Sharon Butler, “Peter Halley: Hyperreal,” Two Coats of Paint,, 17 Apr 2015.

Ted Loos, “Displaying New Art in Old Museums,” The New York Times, 19 Mar 2015, F10.

Kristina Dorsey, “Big and Bold: Flo Gris Showcases Peter Halley’s Monumental Paintings,” The Day, Events & Exhibitions,
12 Mar 2015.

Eileen Kinsella, “Peter Halley on his Big Paintings,” artnet news,, 11 Feb 2015.

Meredith Mendelsohn, “Peter Halley’s Abstract Works Are on View in a New Exhibition in Connecticut,” Architectural Digest
(online edition),, 6 Feb 2015.

Kate Hartman, “Big Halley,” Connecticut Magazine, v. 78 n. 2 (Feb 2015): 24.

Kristin Nord, “Peter Halley: Big Paintings, Size Matters,” Artscope, v. 9 n. 6 (Jan–Feb 2015): 15–17.

Waldemar Januszczak, “Top of the Forms,” The Sunday Times, London, 18 Jan 2015.

 Adrian Searle, “Planet of the Shapes: How Art and Society Were Driven to Abstraction,” The Guardian, Arts Section,
14 Jan 2015, 16–17.

Domenick Ammirati, “The Invisible Giant: Postmodernism Redux, Part 1,” dis magazine, 2015.


Jim Walrod, “Peter Halley: Remain In Light,” Apartamento Magazine 14 (Autumn/Winter 2014): 90–105.

Linda Yablonsky, “Holy Moly,” W Magazine, (Dec 2014–Jan 2015): 53.

Travis Diehl, “Meditations on a Diptych,” The Brooklyn Rail,, 3 Oct 2014.

Wai Lin Coultas, “A Confine of Layered Views,” SINGART,, 27 Sep 2014.“Solo Exhibition of Work by American Artist Peter Halley Opens at Art Plural Gallery,” ArtDaily,, 1 Sep 2014.

“Series Feature: Peter Halley, 29th Aug 2014–3rd Oct 2014,” Dora Magazine,, 28 Aug 2014.

“Art Plural Gallery Hosts Peter Halley’s Solo Exhibition,” Luxury Insider,, 29 July 2014.

“Solo Exhibition by Peter Halley,” Art in Asia,, July 2014.

“Broad Stripes and Bright Stars: New Artworks Inspired by the National Icon,” Smithsonian, (June 2014): 48–49.

Claudia Steinberg, “With Dense Color,” Architektur und Wohnen,, June 2014.

Andreas Platthaus, “These Prisons Let No One Go,” Frankfurter Allgemeine Zeitung, Frankfurt, Germany,
13 June 2014, NR. 135, p. 11.

Claire Wrathall, “Cartier: Building Foundations,” The Telegraph,, 8 June 2014.

 Lioba Knipping, “Jena Has a Good Reputation in the Art World,” TLZ, Jena, Germany, 7 June 2014, ZAJE2.

Ivo Bonacorsi, “Vivid Memories,” domus (Digital Edition),, 26 May 2014.

“Prison Hits Las Vegas,”, 23 May 2014.

Caroline Roux, “The Foundation Cartier Launches an All-Star Exhibition Programme in Honour of its 30th Anniversary,”
Wallpaper,, 16 May 2014.

Lioba Knipping, “Strict Form, but an Explosion of Color,” TLZ, Jena, Germany,8 May 2014, ZAJE2.

Padraic E. Moore, “Neo-Geo Now,” This Greedy Pig,, 3 May 2014.

 Scott Indrisek, “Remembering Index Magazine with Peter Halley,” BLOUIN ARTINFO,, 28 Apr 2014.

Juan Bolivar, “Peter Halley in Conversation with Juan Bolivar for Turps Banana,” TURPS Banana Magazine,
Issue 14 (Spring 2014): 4–13.

Alexander R. Galloway, “What Can a Network Do?,” SPIKE (Spring 2014): 64–71.

Lourdes Garzón, “Pedro J. Ramírez: ‘I Always Thought That Sex Was Silly,’” Vanity Fair (Spanish edition), (Apr 2014).

Pariss Sloan, “Pleasure and Alienation,” Tirade Magazine, Issue 3, (Apr 2014): 10–20.

Rafael de Cárdenas, “The Way You Always Wanted to See’em,” Flash Art, v. 47, n. 295 (Mar–Apr 2014): 50–57.

Andrew M. Goldstein, “10 of the Best Artworks at the 2014 Armory Show,” ArtSpace,, 6 Mar 2014.

Elio Cappuccio & Demetrio Paparoni, “The Concretion of the Abstract,”

ARTE AL LIMITE, n. 64 (Feb 2014): 100–105.

Patrick Scemama, “Saint-Etienne on New York time,” Lá République,, 20 Jan 2014.

Sophie Lespiaux, “Peter Halley,” PARISart,, 17 Jan 2014.


Keith Banner, “Clear as a Bell: Peter Halley at Solway Gallery,” AEQAI, Cincinnati,, 24 Nov 2013.

Alessandra Troncana, “Minini: Forty Years of Art Celebrated at the Triennale,”

Corriere della Sera, Milan, 19 Nov 2013, 9.

Cristiana Campanini, “The Gallerist,” La Repubblica, Milan, 19 Nov 2013, 7.

“Forty Years of Minini,” Domus Milan,, 19 Nov 2013.

Francesca Pini, “Portrait Gallery of 150 Ironic Works,” Sette, Milan, 15 Nov 2013, 118.

Frédéric Bonnet, “Back to FIAC, a Fair for Connoisseurs,” Le Journal Des Arts, Paris, 15–28 Nov 2013, 30.

Karen Chambers, “Explosions of Color,” The Cincinnati Enquirer, 10 Nov 2013, D2.

Giovanna Capretti, “Minini, a Life for the Contemporary,” Giornale di Brescia, 7 Nov 2013, 47.

Damien Sausset, “Private Choice, Une Exposition de Choix,” Le Quotidien De L’Art, Paris, n. 472, 25 Oct 2013, 1.

Maia da la Baume, “Paris Art Fair Celebrates its 40th,” The New York Times,, 23 Oct 2013.

Mark Prince, “Peter Halley: Waddington Custot Galleries, London,” Frieze Magazine, n. 157 (Sep 2013): 154.

Anaël Pigeat, “Matali Crasset: Un bateau sur le temps qui passe,” Art Press, Paris,, n. 403 (Sep 2013).

Valentina Di Micell, “His First 40 Years,” Giornale di Sicilia, 20 Sep 2013, 40.

“An Intense Interaction Between Painting and Architecture,” Blog del Diseño,, 1 Aug 2013.

Jean-Claude Le Gouic, “Peter Halley, Florescent Geometry,”,, 17 July 2013.

Ken Johnson, “Reinventing Abstraction: New York Painting in the 1980s,” The New York Times, 12 July 2013, C23.

Natacha Wolinski, “The Maramotti Collection: An Incubator for Artists,” Le Quotidien de l’Art, n. 417, 10 July 2013, 1–2.

Umberta Genta, “ Prague Biennale: Interview With Director Helena Kontova,” Flash Art, n. 291, v. 46, (Jul–Sep 2013): 57–58.

Roxana Azimi, “A Double Edged ‘Retromania,’” Le Quotidien de l’Art, n. 416, 9 July 2013, 1.

Anaël Pigeat, “Matali Crasset,” 58e Salon de Montrouge, 15 May–12 June 2013, 30–31.

Andrew Russeth, “Peter Halley and Alessandro Mendini,” New York Observer, 5 June 2013, B4.

Scott Indrisek, “Studio Check: Peter Halley,” Modern Painters (June 2013): 42–43.

“Wild Style,” Modern Painters (June 2013): 15.

“Peter Halley and Alessandro Mendini,” My Art Guides, (May 2013).

Anthony Haden-Guest, “Do You Digit? The Story of Online Art,” Spear’s,, 28 May 2013.

Sazan Pasori, “Artist Peter Halley and Architect Alessandro Mendini Collaborate on Minimalist Mural at Mary Boone Gallery,” Complex Art + Design,, 25 May 2013.

Grazia D’Annunzio, “An Exhibition with a Poetic Dialogue Between Peter Halley and Alessandro Mendini in New York,” AD Today,, 24 May 2013.

“Peter Halley + Alessandro Mendini Collaborate at Mary Boone Gallery, NYC,” Designboom,, 18 May 2013.

“Peter Halley + Alessandro Mendini,” Design Porteur,, 7 May 2013.

“Peter Halley & Alessandro Mendini,” Modern Painters Daily,, 3 May 2013.

John Bunker, “Peter Halley,” Abstract Critical,, 22 Apr 2013.

Alexandre Stipanovich, “In the Studio with Painter Peter Halley,” Opening Ceremony,, 15 Apr 2013.

Waldemar Januszczak, “Finally, Masterpieces in DayGlo,” The Sunday Times, London, 14 Apr 2013, 12–13.

Kelly Crow, “A Geometry Guru Stays True to Form,” The Wall Street Journal, New York, 13–14 Apr 2013, C20.

“Peter Halley, London,” The Guardian, 6 Apr 2013.

Pepe Karmel, “The Golden Age of Abstraction: Right Now,” ArtNews, v. 112, n. 4 (Apr 2013): 66–72.

“Scandal,” Connaissance des Arts, n. 714 (Apr 2013): 43.

Eric Loret, “CAPC Reaches 40 Years,” Libération, special edition, Bordeaux, France, 31 Mar 2013, cover, 20–21.

Ian Graves, “Celebrated Artist Peter Halley Exhibits Works in Costa Rica,” La Nación, San José, 31 Mar 2013, 3.

Joshua Kopstein, “'The Thing' Redialed: How a BBS Changed the Art World and Came Back from the Dead,” The Verge,, 15 Mar 2013.

Rachel Miller, “Moving Image Art Fair Sells First Ever 'Vine-art,'” The Guardian,, 12 Mar 2013.

Lilly Wei, “Conceptual Abstraction, Hunter College, Times Square,” Art in America (Feb 2013): 106–107.

Jonah Wolf, “The Dream of the ’90s is Alive at the New Museum,” Paper,, 14 Feb 2013.

Judicaël Lavrador, “Return to the Future,” Les InRockuptibles n. 895, 23 Jan 2013, 102–103.

Gianluigi Colin, “A Cover, An Artist: Halley, Art and the Hurricane,” Corriere Della Sera, Milan, Jan 2013, 35.


Richard Speer, “Best Portland Art of the Year 2012: Favorite shows and pieces from 2012,” Willamette Week,, 26 Dec 2012.

Karen Rosenberg, “‘Cellblock I’ and ‘Cellblock II’,” The New York Times,, 20 Dec 2012. 

Cathy Lebowitz, “Sensibility of the Times: Peter Halley,” Art in America (Dec 2012): 164–165.

Gianluigi Colin, “Halley: I Paint the Prisons We Live in,” Corriere Della Sera, Milan, Italy, 18 Nov 2012, 27.

L. Kent Wolgamott, “'The Geometric Unconscious' a Conversation With Jorge Daniel Veneciano,” Journal Star, 27 Oct 2012.

Flavio Arensi, “The Order of Words: Rediscovered,” Arte (Sep 2012): 18–19.

 Guillaume Durand, “The Museum of Contradictions,” L’Officiel Art, Jun–Aug 2012.

“Artistic ‘Simulation’ of Prisons and Cells,” [polis],, 31 May 2012.

Neil Thrun, “Neutral Spaces, Empty Geometry: Why All Artists Need to Re-engage with Ideology,” Spray Booth Gallery,, 20 May 2012.

Olivier Reneau, “A Short History of Magazines,” L’Officiel Art, Apr–June 2012.

Lori Waxman, “Museum of Contemporary Art Looks Back at the ‘80s,” Chicago Tribune, 25 Apr 2012.

G. Roger Denson, “When the Personal is Made Political: Left Political Art Timeline, 1980–1989,” The Huffington Post,, 16 Apr 2012.

“Contemporary Abstract Art: Peter Halley in Barcelona,” Paper Blog,, 3 Apr 2012.

Njoki Gitahi, “Interview with Peter Halley,” Graphic Magazine, Seoul, n. 22. (Apr 2012).

Richard Speer, “Peter Halley,” ArtNews, v. 111, n. 4 (Apr 2012): 115.

Nick Marmor, “Peter Halley: Isolation and Connectivity in the Big Apple,” IFA Contemporary,, 16 Feb 2012.

Sarah Vaeth, “Peter Halley at Disjecta, Portland,” Artwrit,, Feb 2012.

Richard Speer, “Peter Halley: Prison,” Willamette Week,, 20 Jan 2012.

Sharon Butler, “Green Light: Peter Halley in Portland,” Two Coats of Paint,, 20 Jan 2012.

Jenene Nagy, “Peter Halley’s Prison,” NY Arts, 12 Jan 2012.

Richard Speer, “Peter Halley at Disjecta, Portland, Oregon,” Visual Art Source,, Jan 2012.


Christina Passariello, “The Culture of Understatement,” The Wall Street Journal, 1 Dec 2011.

Anne Charnock, “Abstract Painting Survives its High Anxieties,” The Huffington Post,, 24 Nov 2011.

Étienne Dumont, “Xippas Gallery Proposes Peter Halley, rue des Sablons,” Tribune de Genève,, 17 Nov 2011.

Renato Diez, “Undisciplined Painting,” Arte (Nov 2011): 114–119.

“Open Art Weekend,” Weltkunst (Nov 2011).

“Update: Galerie Thomas Modern,” Architectural Digest, German edition (Nov 2011).

“Exhibition, Peter Halley,” Bob: International Magazine of Space Design 87 (2011).

“The World in Dazzling Square: New Work by Peter Halley in Munich,” Kultur Vollzug,, 16 Oct 2011.

“Koons’ Discoverer,” Weltkunst (Oct 2011).

Brita Sachs, “The Proud Pioneers in Bavaria,” Frankfurter Allgemeine Zeitung, Germany, 10 Sep 2011.

Michael Stadler, “Adventure Everywhere,” Abendzeitung, Munich, 9 Sep 2011.

“Color-Happy ‘Prisons’: Halley Exhibition in Munich,” Bild., 9 Sep 2011.

Astrid Mania, “Home Games,” Süddeutsche Zeitung, Munich Germany, 27 Aug 2011.

Phoebe Hoban, “Outside the Box,” New York Observer, 29 Aug 2011, B1.

“Galerie Thomas Announces its Exclusive Representation of the Artist Peter Halley,” Art Daily,, 8 Aug 2011.

Jack Johnson, “Peter Halley Studio Visit,” Cool Hunting,, 27 July 2011.

Danielle Dobies, “Peter Halley: Preview of Works for Germany,” Whitewall,, 19 July 2011.

“Peter Halley Judgment Day: An Installation in Personal Structures at the Venice Biennale,” Art Daily,, 21 June 2011.

Monica Sorribes, “Peter Halley,” Arte y Parte n. 92 (Jun–July 2011): 115.

“Munich: Open Art,” Art Investor (June 2011).

 Claudia Schiera, “Contemporary Language,” Side Magazine, n. 5 (May 2011): 72.

Ken Johnson, “Uptown, a Jumble of Treasures,” The New York Times, 22 Apr 2011, C32.

“Peter Halley – Four Decades of Drawings,” Art or Farce?,, 12 Apr 2011.

PMLA: Publications of the Modern Language Association of America, n. 2 (Mar 2011): cover, 304.

Joanna Rojkowska, “Deconstruction Geometry: Deconstruction Light,” artluk (Feb 2011): 49.

Fabriano Fabbri, “Fatal Abstraction,” Book Moda, n. 111 (2011): cover, 42.

Güseli Inal, ''Contemporary Istanbul,” Yapi (Jan 2011): 162, 350.


Graham Fuller, “BZ & Michael Schwartz, Art as Family: 80s, 17 December 2010," auction catalogue, Phillips De Pury, New York,
17 Dec 2010, 34, 37.

Oleg Frolov, “Interview: Peter Halley,” Populist, n. 1 (Dec 2010): 2–6.

Raisa Murashkina, “The Famous American Artist Peter Halley Has Taken an Interest in Russian Icons,” Komsomolskaya Pravda, Russia,, 20 Oct 2010.

Aleksandra Novozhenova, “I Felt that My Prints Were Almost a Premonition of September 11th” Artchronika (Oct 2010): 54–59.

Elvira Tarnogradskaya, “Peter Halley: The Discipline of Ideal Proportions,” Main People,, 29 Sep 2010.

Denis Zacharov, “An ‘A’ in His Geometry Course,” Itogi, 20 Sep 2010, 76.

Irina Kulik, “I Do Not Believe in the Linear History of Art,” Culture, Kultura Limited Section, 9 Sep–6 Oct 2010, 7.

Karlyn De Jongh, “Interconnection and Isolation: Peter Halley in an Interview With Karlyn De Jongh – Part 1,”
Dart International, n. 27 (Fall 2010): 32–34.

Stephen Maine, “Peter Halley: Mary Boone,” Art in America (Jun–July 2010): 182–183.

Nicola Trezzi, “Peter Halley: Mary Boone, New York,” Flash Art (May–June 2010): 113.

Sharon Butler, “Peter Halley’s Grim Vision,” Two Coats of Paint,, 7 Mar 2010.

Carolyn Tate Angel, “Fine Art Echoes at Balenciaga,” W Magazine,, 5 Mar 2010.

Michael Wilson, “Peter Halley,” Time Out New York, 4 Mar 2010, 36.

“Proof is in the Pink,” Time Out New York, 25 Feb 2010, 45, 46.

“Contemporary Istanbul,” RH+artmagazine (Jan 2010): 43, 45.

“Peter Halley Appointed the Leffingwell Professor,” Yale News, New Haven, 15 Jan 2010.


Elizabeth Schambelan, “Peter Halley: Mary Boone Gallery,” Artforum (Dec 2009): 228–229.

Kim Levin, “Peter Halley: Mary Boone,” ArtNews, v. 108, v. 11 (Dec 2009): 105.

David Carrier, “Peter Halley Early Work: 1982 to 1987 at Mary Boone,” Art Critical,, 1 Oct 2009.

Laura Schleussner, “Peter Halley: El Sourdog Hex, Berlin,” Flash Art (Jul–Sep 2009): 100.

Christiane Meixner, “Christiane Meixner Is Interested in a Painter without a Concrete Subject,” Der Taggespiegel, Berlin, n. 20,
4 July 2009, Art and Market Section, 309.

Amaya De Toledo, “Enter the Light,” Architectural Digest, Spanish edition, n. 37 (June 2009): cover, 1.

Jens Hinrichsen, “The Collector Reinhard Onnasch Shows Classics of the Present in an Exhibition Space in Berlin,” Tagesspiegel, Berlin, 6 June 2009, 27.

Marco Dotti, “Disintegrated Circuits: The Paradoxes of the Crisis According to Peter Halley,” il manifesto, Rome, 24 May 2009, 11.

Jonathan Vatner, “For New Hotels, Art Isn’t Merely Decoration,” The New York Times, 3 May 2009, Section 2, 2.

James Gardner, “The Medium is the Message,” The Wall Street Journal, 24 Mar 2009, D7.

Maria Gerosa, “New Experiences,” Architectural Digest (Italian edition), n. 333 (Feb 2009): cover, 1, 114.

Bones, “Bones’ Beat: Synthetic at the Whitney,” The Village Voice,, 19 Feb 2009.


Peter Nagy, “From Criticism to Complicity,” Flash Art International, v. 41 (Jul–Sep 2008): 152–155.

Michela Arfiero, “Peter Halley/Alessandro Mendini,” Flash Art International, v. 41 (Jul–Sep 2008): 263.

Laura Larcan, "When Art Resembles Science and the 'Big Bang' Is a Museum Piece," La Repubblica,,
2 July 2008. 

Roberta Saiardi, "The Big Bang? It is at the Bilotti Museum," Romanotizie,, 25 June 2008.

Giancarlo Politi, “Peter Halley At the End of History,” Flash Art (Jul–Sep 2008): 164–167.

Françoise-Claire Prodhon and Christian Simenc, “The Point of View of the Experts,” AD (June 2008).

Mauro Corradini, “The ‘Dictatorship of the Place’ with Mendini and Halley,” Brescia Oggi, Brescia, Italy, 19 Apr 2008.

Silvia Ghilardi, “Exchanges of Views (and of Colors),” Il Brescia, Brescia, Italy, 20 Mar 2008.

Fausto Lorenzi, “Peter Halley and Alessandro Mendini, Life Imprisoned and Liberated by Geometry,” Giornale di Brescia,
Brescia, Italy, 19 Mar 2008, 33.

Peter Vogel, “Peter Halley, An Artist and His City,” Parnass Kunst Magazine (2008): 78–85.


Elisabeth Couturier and C. Penwarden, “Matali Crasset, Peter Halley: Galerie Thaddaeus Ropac,” Art-Press, n. 340 (Dec 2007): 83.

Anna Bates, “Matali Crasset,” Icon Eye (Nov 2007): 61.

Madhu Puri, “Block Party,” Interview (Oct 2007): 128.

“In the Galleries: Design or Art?,” Le Point, Paris, 20–26 Sep 2007.

Jeff Rian, “Peter Halley—Matali Crasset: A Rebours,” Dezeen Magazine (Sep 2007): 44.

Güseli Inal, “Acid Colors & New Geometry: Peter Halley: Peter Halley,” Artist Actual (Sep 2007): 42–44.

Jody Feinberg, “Young Minds, Strong Hearts MFA Taps Into Teen Interns’ Powerful Emotions to Interpret Works of War,”
The Patriot Star Ledger, Quincy, MA, 29 May 2007.

Kelly Klaasmeyer, “Peter Halley: New Paintings,” The Houston Press, Houston, TX, 12 Apr 2007.

Sven Lütticken, “Black Bloc, White Penguin: Reconsidering Representation Critique,” Artforum (Mar 2007): 299–303.


“Peter Halley & Ebon Fisher,”, network research, 6 Nov 2006.

Juan Carlos Rego, “Peter Halley/Jordi Bernadó,” Arte y Parte, n. 65 (Oct–Nov 2006): 122.

“Powerhouse,” V Magazine (Sep 2006): 71.

Dorothy Spears, “The First Gallerists Club,” The New York Times, 18 June 2006, Section 2, 1.

Yahsi Baraz, “Peter Halley and the Turkish Collectors,” rh+san art (June 2006): 61–63.

Anton Gorlenko, “Concrete Abstraction,” Aficha (May 2006): 133.

“Geo-Graphic,” A Priori (May 2006): 130.

Valery Bylinsky, “Squares by Peter Halley,” Leisure & Entertainment, Moscow, 18 May 2006, 55.

“CONTACT: Peter Halley,” Time Out Moscow, 15 May 2006, 89.

Daniel Grant, “Halley’s Constellations,” ARTnews (Apr 2006): 102.

Takashi Hata, “Using ‘Squares’ and ‘Lines:’ He Vividly Draws Today’s Social Situation,” Pen Magazine (Jan–Feb 2006): 56.


Spencer Michlin, “The Art of Flying,” American Way, Fort Worth, TX, 15 July 2005, 32.

Alexandra Koroxenidis, “Peter Halley and the Language of Geometric Abstraction in Art,” Kathimerini English Edition, Athens, Greece, 25 May 2005, Arts and Leisure Section.

Violant Porcel, “A Paradise Without Eden,” La Vanguardia, Barcelona, 4 May 2005, 20.

Krista Kostadinidi, "Peter Halley The Intellectual Painter of Abstraction," Estia, Athens, 18 Apr 2005, 7.

Natasa Gianousi, "The Geometric Abstraction of Halley," Ethnos, Athens, 17 Apr 2005, 16–17.

Maria Maragou, "Skills," Eleftherotypia, Athens, 11 Apr 2005, 24.

Avgostinos Zenakos, "My Paintings are Diagrams," To alo Vima in Vima, Athens, 10 Apr 2005, 38

Phivos Sakalis, "Geometries of Thought & Feeling," Gyneka, Athens, Apr 2005, 142–49.

Javier Rubio Nomblot, “Architectural Cells and Cubicles,” El Cultural, Madrid, 2 Apr 2005, 30.

Jack Bankowsky, "East Village USA," Artforum, n. 8 (Apr 2005): 179–180.

Stathis Panagoulis, "Samaras & Halley," Time Out Athens, 31 Mar 2005, 65.

Richard Lacayo, “How Does 80’s Art Look Now?” Time Magazine, 28 Mar 2005, 58–62.

Avgostinos Zenakos, "Color in Our Lives," Vimagazino in Vima, Athens, 27 Mar 2005, 20–21.

Roberta Bosco, “Peter Halley Exhibits Paintings at Three Spanish Galleries,” El País, Madrid, 17 Mar 2005, 33.

Rosario Fontavo, “Peter Halley Exhibits Seven Paintings at Two Galleries in Barcelona,” El Periódico de Catalunya,
Barcelona, 16 Mar 2005, 71.

Elena Cuesta, “Peter Halley Exhibits His Reflections on Communication between Individuals in Barcelona,” El Mundo, Madrid,
16 Mar 2005, 58.

Olga Spiegel, “Geometric Painting Can Reflect Today’s Society,” La Vanguardia, Barcelona, 16 Mar 2005, 44.


Henri-François Debailleux, “I’m a kind of Realist in an Abstracted Society,” Libération, Paris, 17 July 2004, 42–43.

Grace Glueck, “With Artists Among Alumni, a School Can Be a Collector,” The New York Times, 16 July 2004, 38.

David Rimanelli, “High Art,” House and Garden (June 2004): 104–109.

Eric Troncy, “A Comet From the Eighties,” Numéro (Mar 2004): 318–321.


Craig Garret, “The Industrial Art: Peter Halley, Bill Charles, and Neville Wakefield Discuss the Multiple Trajectories of Contemporary Photography,” Flash Art (Nov–Dec 2003): 57–59.

Craig Garret, “Coerced Confessions,” Flash Art (Nov–Dec 2003): 72–75.

Sheila Kim, “Blast From the Past,” Interior Design (Oct 2003): 62.

Jamie Lee Pricer, “Peter Halley and Robert Graham: Imago, Palm Desert, California,” ArtNews, v. 102, n. 5 (May 2003): 161.

Yayoi Kojima, “We Love Painting!,” Invitation Magazine (Mar 2003): 164.

“Why Don’t You…See This (Art),” Harpers Bazaar Tokyo (Mar 2003): 176.

Dan Cameron, “80’s Then: Peter Halley Talks with Dan Cameron,” Artforum (Mar 2003): 212–213.

Matilde Battistini, “The Red One Here is George W. Bush,” il Diario, Milan, 14 Mar 2003, 58–61.

Yayoi Kojima, “A Flag Bearer of American Abstract Painting is Still Going Strong,” Esquire Japan (Mar 2003): 192.

Shigeo Kae, “Tokyo Shows Reveal Subtle Art of Collecting Masterpieces,” The Asahi Shimbun, Tokyo, 24 Jan 2003, 29.

John McGee, “We Love Painting!” Metropolis, Tokyo, 14 Feb 2003, 12.

Yuri Shirasaka, “Museum Review: We Love Painting!” Katei-Gahoh (Feb 2003): 130.

Yutaka Fukuda, “A Brilliant Collection of Contemporary Art from the U.S.,” Diamond, Tokyo, 1 Feb 2003, 110–111.

“We Love Painting!” Geijutsu-Koron (Jan 2003): 196.

“Preview: We Love Painting!” Bijutsu-Techo (Jan 2003): 270.

Asami Nagai, “Art in the Workplace? Sounds Almost Too Good to Be True,” The Daily Yomiuri, Tokyo, 16 Jan 2003, 34.


Joanna Jacovini, “Bright Lights, Bold Fashion,” Interview (Dec 2002): 6.

Robert Rosenblum, “Best of 2002,” Artforum (Dec 2002): 114.

Roger Boyce, “Lock-Ups and Aftershocks,” Art in America (Nov 2002): 128–129.

Byron Okada and Gail Robinson, “New Creation: D/FW’s Art Program Ready for Takeoff,” Star-Telegram, Dallas, TX, 6 Nov 2002.

David Carrier, “Peter Halley, Mary Boone,” Tema Celeste (Sep 2002): 92.

Melinda Rose Silva, “Peter Halley’s Mini Adventure,” Contemporary (Sep 2002): 60–61.

Jaume Vidal Oliveras, “The Labyrinth of Peter Halley,” El Cultural (Sep 2002): 32.

Stephanie Cash and David Ebony, “Artworld,” Art in America (June 2002): 144.

Roberta Smith, “Peter Halley: Mary Boone Gallery,” The New York Times, 10 May 2002, E30.

Roberta Smith, “A Profusion of Painting, Very Much Alive,” The New York Times, 10 May 2002, E33–34.

David Colman, “ When Inside Out Equals Outside In,” The New York Times, 5 May 2002, Section 9, 9.

Richard Tuttle, “Cosmic Relief,” Artforum (Feb 2002): 116–121.

Tony Godfrey, “At Waddington,” The Burlington Magazine (Jan 2002): 48.


Martin Gayford, “Peter Halley on Picasso’s Still Life on a Pedestal Table,” The Daily Telegraph, London, 3 Nov 2001, A10.         

Kara Weg Vander, “What is Pop Art?” GQ (Sep 2001): 360.

Mariuccia di Casadio, “Superfluous,” Vogue Italia (June 2001): 185.

Gean Moreno, “Mythic Proportions,” Flash Art (May–June 2001): 146–147.

Amei Wallach, “Reassessing an Era When Excess Was the Norm,” The New York Times, 29 Apr 2001, Section 2, 38.

Mariuccia di Casadio, “Art Working,” Casa Vogue, Italian edition (Apr 2001).

Gean Moreno, “Peter Halley,” New Art Examiner, v. 28, n. 7 (Apr 2001): 63.

Elisa Turner, “Artist’s Many Images Sprout Daring Colors,” The Herald, Miami, 26 Feb 2001, 1–2C.

Akio Nagasawa, “Peter Halley,” Esquire Japan (Jan 2001): 39.


Sabina Spada, “Halley’s World,” Arte (Dec 2000): 120–124.

Andrea Affaticati, “Luxurious Editions,” Vogue Italia (Dec 2000): 78.

Jane Harris, “Peter Halley: Maintain Speed,” Bookforum (Fall 2000): 19.

Nancy Princenthal, “Artist’s Book Beat,” Art On Paper, v. 4, n. 6 (Jul–Aug 2000): 70–71.

Lyle Rexer, “Peter Halley,” Graphis, v. 56, n. 328 (Jul–Aug 2000): 12.

Pamela A. Ivinski, “Peter Halley,” Print, v. 54, n. 3 (Jul–Aug 2000): 16.

Barry Schwabsky, “Speed Reading,” i-D Magazine, v. 47, n. 4 (June 2000): 36.

Mariuccia Casadio, “Into Gold,” Casa Vogue, Italian edition (Apr 2000): 172.

Laura Mauk, “Horse’s Mouth,” Bookforum (Summer 2000): 9.

J. Seafree, “Peter Halley,” La Brocha (Mar 2000).

Jose Jimenez, “Peter Halley: Geometry and the Social,” El Mundo, Madrid, 12 Feb 2000, 16.

F. Carpio, “Vile Geometry,” La Razon, Madrid, 25 Feb 2000.

Alicia Murria, “Peter Halley,” Lapiz, n. 161 (2000): 81.

Mariano Navarro, “Peter Halley,” El Mundo, Madrid, 27 Feb 2000.


Cornelia Gockel, “Wall Works: Museum Villa Stuck, Munich,” Kunstforum International, n. 148 (Dec 1999–Jan 2000): 363–364.

Alex Coles, “Peter Halley,” art/text (Nov 1999): 82.

Craig Garret, "Interview with Peter Halley,” art magazine (Nov 1999): 97.

Tai-gun Yun, “Peter Halley: Exhibition review,” ARTWORLD (Nov 1999): 181.

"Exhibition Highlight,” Wolgan Misool (Nov 1999): 156.

John Sullivan, "Peter Halley’s Exhibit Delivers a Message of Caution in Modern Development,” The Korea Herald, Seoul, 3 Nov 1999.

Demetrio Paparoni, "Peter Halley: Waddington Galleries, London; Grant Selwyn Fine Art, New York,” Tema Celeste
(Aug–Sep 1999): 75–76.

Daniel Birnbaum, "Peter Halley: Grant Selwyn Fine Art, New York,” Artforum (Sep 1999): 163.

Matthew Collings, “Higher Beings Command: Peter Halley,” Modern Painters (Summer 1999): 63.

Alfred MacAdam, “Peter Halley: Grant Selwyn Fine Art,” Artnews (Summer 1999): 153.

Greg Purcell, “Peter Halley: Alan Koppel Gallery,” New Art Examiner, v. 26, n. 10 (Jul–Aug 1999): 48.

John Tozer, “Peter Halley: Waddington Galleries, London,” Art Monthly, n. 227 (June 1999): 42–43.

Noemi Smolik, “Peter Halley: Work as Structure,” Kunstforum International (May–June 1999): 305–311.

Ken Johnson, “Peter Halley, Grant Selwyn,” The New York Times, 28 May 1999, E32.

Sarah Kent, "Waddington's,” Time Out London, 19 May 1999.

"Halley's Comment,” The Guardian, London, 24 Apr 1999.

Reinhard Ermen, “Peter Halley: ‘Images of the 90s,’ Museum Folkwang, Essen,” Kunstforum International (Mar–Apr 1999): 353–354.

Georg Imdahl, “Revolt in the Prison of Geometry,” Frankfurter Allgemeine, Frankfurt, 4 Jan 1999.

“Digital Fields,” Kunst Aktuell (Dec 1998–Jan 1999).


“Peter Halley,” noëma (Oct–Nov 1998): 49.

Katja Behrens, “Geometry Paranoia,” Marabo (Dec 1998).

“Ambiguous Color Fields,” Der Spiegel (Dec 1998).

Sigrid Nebelung, “In the Net of Lines and Cables,” Art Das Kunstmagazin (Dec 1998): 88–89.

Christiane Hoffmans, “The World is Geometry,” Welt, Berlin, 22 Nov 1998.

Manfred Krause, “The Labyrinth of Technology: Halley’s ‘Neo-Geo in Essen,’” Westdeutsche Allgemeine, Essen, Germany, 27 Nov 1998.          

Schenk-Güllich, “Colorful Paintings and Walls: Peter Halley at the Folkwang Museum,” Neue Ruhr Zeitung, Essen, Germany, 23 Nov 1998.

Nancy Princenthal, “Peter Halley at the Museum of Modern Art,” Art in America (May 1998): 121.

Midori Matsui, “Getting Out of the Cell: Peter Halley’s Thinking Geometry,” Bijutsu Techo, v. 50 n. 775 (May 1998): 97–108.

“Peter Halley at MoMA,” Tema Celeste (Jan–Mar 1998): 73.

Mark Tribe, “Peter Halley, On Line______” Rhizome,, 4 May 1998.


Robert Rosenblum, “Top Ten,” Artforum (Dec 1997): 84.

Steven Shaviro, “New Concepts in Printmaking I: Peter Halley,” On Paper (Nov–Dec 1997): 42–43.

Roberta Smith, “Museums,” The New York Times, 14 Nov 1997.

Asli Kayabal, “Halley Comes to Turkey,” YeniYuzyil, Istanbul, 2 Nov 1997.

“Peter Halley Is Coming to Turkey,” Cumhuriyet, Istanbul, 30 Oct 1997.

Roberta Smith, “Peter Halley, New Concepts in Printmaking I,” The New York Times, 24 Oct 1997.

Kim Levin, “Jailbreak,” The Village Voice, 14 Oct 1997, Section E, 46.

Edith Newhall, “On View, The Halley Files,” New York Magazine, 29 Sep 1997.

Janet Allon, “New Magazine with a Touch of Andy Warhol,” The New York Times, 20 July 1997.

Nuvit Ozdogru, “The Chain of Artistic Movements, from Pre-Renaissance through Neo-Geo,” Milliyet Sanat (Apr 1997).

Kimmo Sarje, “New York Neurosis,” Siksi (Spring 1997): 76–79.

Sabina Spada, “Peter Halley,” Tema Celeste (Spring 1997).

Mauro Panzera, “Peter Halley, Massmio Minini, Sperone Roma,” Flash Art, Italian edition (Apr–Mar 1997).

Luciano Caramel, “Halley: The Anti-Idealist,” Quadri & Sculture, n. 24 (Feb–Mar 1997).

Ida Bini, “Halley’s Neo-Geo Comet Travels to Italy,” Arte e Mercato (Feb 1997).

Alberto Fiz, “Halley, the Neo-Abstract,” ItaliaOggi, Milan, 22 Feb 1997.

Fausto Lorenzi, “Peter Halley’s Cold Comet,” Giornale di Brescia, Brescia, Italy, 12 Feb 1997.                  

Alberto Fiz, “Rome and Brescia: the Invisible Distances of Peter Halley,” Madame (Feb 1997).


“Halley, los 16, Miguel Moreno, Marqués,” El Punto, Madrid, 20 Dec 1996.

Mariano Navarro, “Peter Halley’s Paintings,” ABC de las Artes, Madrid, 13 Dec 1996.

Javier Mazorra, “Peter Halley’s Work Introduces a New Gallery in Madrid,” El Mundo, Madrid, 12 Dec 1996.

Ugo Nespolo, “Under the Cross Beams of Peter Halley,” La Stampa, Turin, 26 Aug 1996.

Peter Schjeldahl, “Balling,” The Village Voice, 30 July 1996.

David Pagel, “A Union of Pop, Minimalism That’s Over the Top,” The Los Angeles Times, 15 May 1996.                

Warren Sack, “Painting Theory Machines,” Art and Design, n. 48 (1996).

Ferdinand Protzman, “Everyday Abstractions,” The Washington Post, 9 Mar 1996, H2.

Roberta Smith, “Art in Review: Screen, Friedrich Petzel Gallery,” The New York Times, 2 Feb 1996, C26.

“Artificial Pleasures: Peter Halley on Rem Koolhaas’ Eurolille,” Frieze, (Jan–Feb 1996).


Nancy Stapen, “Peter Halley’s Feel-Bad Art for an Oppressive Culture,” The Boston Globe, 7 Dec 1995, 72.

David Riminelli, “Peter Halley at Sidney Janis Gallery,” The New Yorker, 4 Dec 1995, 20.   

Robert Atkins, “The Art World & I Go On Line,” Art in America (Dec 1995): cover.

Jeff Rian, “Peter Halley Makes a Move,” Flash Art (Oct 1995): 89–92,128.

Pepe Karmel, “Peter Halley at Pace Wildenstein and TZArt,” The New York Times, 6 Oct 1995, C32.

Michael Odom, “Rachel Hecker, Peter Halley,” New Art Examiner, v. 23 (Oct 1995): 49.

Alan Artner, “Art, Clarity, and Color Charge Halley Drawings,” The Chicago Tribune, 25 Aug 1995, 52.

Pepe Karmel, “Peter Halley & Ettore Sottsass at Jay Gorney Modern Art,” The New York Times, 21 July 1995, C23.

Charles Dee Mitchell, "Peter Halley at Turner, Byrne & Runyon," Art in America (July 1995): 90–91.

Michel Nuridsany, “Halley: Plans a Comet,” Le Figaro, Paris, 16 May 1995.

Philippe Dagen, “Galerie Thaddaeus Ropac.” Le Monde, Paris, 14 May 1995, 19.

Susan Kandel, "The Non-Site of Theory," Frieze, n. 22 (May 1995): 30.

Marina Isola, “Close Encounters,” The Met, Dallas, TX, 2 Mar 1995.

Marina Isola, “Peter Halley: Paintings 1980–1981,” The Met, Dallas, TX, 2 Mar 1995.

Janet Tyson, “Blurred ‘Encounters,’” Fort Worth Star-Telegram, 28 Feb 1995, 1.

Lucia Cortes Cantillo, “Representations of Abstraction, ” La Republica, San José, Costa Rica, 19 Jan 1995, 5.

Aurelia Dobles, “Four Infinities,” La Naçion, San José, Costa Rica, 18 Jan 1995, 10.


Owen Drolet, “Peter Halley/Grand Salon,” Flash Art (Oct 1994): 95.

Mark Rosenthal, “Critiques of Pure Abstraction,” Atelier Magazine (Sep 1994): cover, 68–69.

Cesar Giobbi, “Peter Halley.” Caderno 2, Quarta-Feira, Sao Paulo, Brazil, 14 Sep 1994, D6.                                  

Jeffrey Slonim, “Sister Acts, Take Two,” Artforum (Mar 1994): 8.


Julie V. Iovine, “A Working House,” Architectural Record, v. 181 (Sep 1993): 90–93.

Stefan Römer, “Peter Halley,” Kunstforum (1993): 351.

Laurie Ziegler, “The Ties that Bind,” New Art Examiner (Summer 1993): 12–17.

Carol Vogel, “Value of Contracts,” The New York Times, 11 June 1993, C18.

“Peter Halley Lawsuit Continues,” Flash Art International, n. 170 (May–June 1993): 107.

Michael Corris and Robert Nickas, “Punishment and Decoration, Art in the Age of Militant Superficiality.” Artforum (Apr 1993): 81.

Charles Warren, “Seize the Apparatus,” Tema Celeste (Spring 1993): 45–49.

Wade Saunders, “Making Art Making,” Art in America (Jan 1993): 78–79.               

Arturo Schwarz, “One Show Not to Miss,” Segno (1993): 39–40.

Terry R. Myers, “Peter Halley,” Art Issues (Jan–Feb 1993): 38.

“Introduction,” Rene Szantos , exhibition catalogue, (New York: New York University, Grey Art Gallery, 1994).


John Sedgwick, “An ‘A’ in Art,” Town & Country (Nov 1992): 84–87.

Ferran Escoda, “Three Names for an Untitled Landscape,” El Guia, n. 16 (Oct–Nov 1992).

Jeanne Siegel, “Peter Halley,” Tema Celeste (Autumn 1992): 87.

Jan Bart Klaster, “Peter Halley: A Complete Body of Work at the Stedelijk,” Het Parad Kunst, Amsterdam, 16 Oct 1992, 6.

David Pagel, “Geometric Abstraction,” The Los Angeles Times, 7 Oct 1992.

“Peter Halley Proves His Rights,” Flash Art International, n. 166 (Oct 1992): 122.

Renee Steenbergen, “Biography in Florescent Colored Squares,” Kunst, Amsterdam, 30 Sep 1992, 10.

Louwrien Wijers, “The Spark of Life in a Dead Universe,” Het Financieele Dagblad, Netherlands, 21 Sep 1992, 13.

David Bourdon, “Seeing It All, or Six Weeks in Manhattan Galleries,” Art in America (Sep 1992): 51–61.

Maria Lluïsa Borrás, “The Splendor of Art in Barcelona,” La Vanguardia, Barcelona, 1 Aug 1992, 35.

Abel Figueres, “Between the Geometric and the Social,” Avui Art, Barcelona, 22 July 1992, 28.    

Lesley Constable, “Wexner Center Show Throws More Crumbs,” The Columbus Dispatch, Columbus, OH, 19 July 1992, 8H.   

Montse Badia, “Peter Halley,” Avui Art, Barcelona, 8 July 1992, 24.

Pablo Jimènez, “Peter Halley, A Neo-Geo in Madrid,” ABC de las Artes, Madrid, June 1992, 33.

Julieta Martialay, “The Most Representative Artist of the Pop-Art Movement Exhibits at the Reina Sofia,” El Observador, Madrid,
June 1992.

“Halley, A Secular Geometrist,” El Pais, Madrid, 29 June 1992, 30.

Jose Ramon Danvila, “Peter Halley: Thought and Reason in his Paintings,” El Punto, Madrid, 26 June 1992, 6.

Horacio Fernandez, “The Continuity of Geometry,” El Mundo, Madrid, 26 June 1992, 78.

Carol Vogel, “Sonnabend Loses,” The New York Times, 26 June 1992, C19.

Octavio Zaya, “The Artists of the 80s Were Pretentious,” Cultura Espectaculos, 24 June 1992.

“Pop Art and Peter Halley at the Reina Sofia,” Lanza, Madrid, 23 June 1992, 7.

“Peter Halley’s First European Exhibition at the Reina Sofia,” Diario Vasco, Madrid, 23 June 1992, 67.

Clara Isabel de Bustos, “The Reina Sofia Opens Its Doors to Pop Art,” ABC de las Artes, Madrid, 23 June 1992, 67.

F. S., “The Reina Sofia Exhibits Work From the Pop Art Movement,” El Pais, Madrid, 23 June 1992, 30.

Manuel Mediavilla, “The Reina Sofia Exhibits Pop Art Paintings and the Work of Peter Halley,” El Diario Vasco, Madrid,
22 June 1992, 68.

Manuel Mediavilla, “Pop Art and Peter Halley at the Reina Sofia,” El Correo, Madrid, 21 June 1992, 30, 65.

Hilton Kramer, “A Neo-Geo Mumbo-Jumbo Guides Halley’s Comet,” The New York Observer, 15 June 1992.

Michael Kimmelman, “Peter Halley,” The New York Times, 5 June 1992.

Catherine Millet, “The Crisis in Geometry and Other Essays, 1981–1987,” Art Press (June 1992): 63.

Robert Fleck, “Peter Halley, Broad Conduit Boogie-Woogie,” Flash Art (Summer 1992): 109Celia Montolio, “Hidden Geometries,” Revista Internacional de Arte Lapiz, n. 88 (Summer 1992): 32–43.

Carol Vogel, “Movable Show,” The New York Times, 22 May 1992, C22.

Daghild Bartels, “Peter Halley: Foundation Edelman, Pully,” Artis (May 1992): 57.

Chantal Michetti-Prod’Hom, “Geometry and Society,” IAS Ingénieurs et Architectes Suisses, n. 11, 13 May 1992, 230–233.

G. M., “The Darkness of Day-Glo,” Le Nouvelliste, Sion, Switzerland, 8 May 1992, 5.

D. M., “The Labyrinths of the Artist,” L’Hebdo, Paris, 17 Apr 1992, 93.

Luc Debraine, “The Bright Palette of Peter Halley Evokes a Constant Darkness,” Le Nouveau Quotidien, Paris, 14 Apr 1992, 23.

Nicole Kunz, “In The Alleys of Halley,” Journal de Geneve, Geneva, 7 Apr 1992, 38.

Philippe Dagen, “Optical Cruelties,” Le Monde, Paris, 1 Apr 1992, 19.

Demetrio Paparoni, "About the Sublime Today," Tema Celeste, n. 34 (Winter 1992): 89.



Dominique Godfrey, “Peter Halley at CAPC: A Young Wizard of Geometry,” Sud Ouest, Bordeaux, France, 22 Dec 1991.

“The Universe of Peter Halley,” Le Courrier Français, Bordeaux, France, 13 Dec 1991.

“Peter Halley at CAPC Bordeaux,” Panorama de Medecin, Paris, 12 Dec 1991.

Jacques Bouzerand, “Full Framework: Peter Halley,” Le Point, Paris, 12 Dec 1991.

Jerome Sans, “Peter Halley,” Beaux Arts (Dec 1991): 107–109.

“Everyday Life and Art: The Geometries of Peter Halley,” Bordeaux (Dec 1991).

“Peter Halley,” A Suivre (Dec 1991).

Steve di Benedetto, "Site and Non-Site," Flash Art (Nov–Dec 1991): 100–102.

Steven Mannheimer, “Power Play,” The New Art Examiner (Nov 1991): 16–19.

Paul Gardner, “What Artists Like About the Art They Like When They Don’t Know Why,” Artnews (Oct 1991): 116–121.

Brian D’Amato, “Peter Halley,” Flash Art (Oct 1991): 143.

Roberta Smith, “Art and Power, Or, the Fist that Grips the Brush,” The New York Times, 24 Oct 1991, C17, C21.

“Peter Halley,” Bordeaux Gironde (Oct–Dec 1991).

Ken Johnson, “Report from New York: Generation Saga,” Art in America (June 1991): 45–51.

Thomas McEvilley, “Two Big Shows: Post-Modernism and Its Discontents,” Artforum (Summer 1991): 98–101.

The Paris Review, n. 119 (Summer 1991): cover.

“Architect and Client,” Perspecta, (Spring 1991).

James Hillman, “The Repression of Beauty,” Tema Celeste (May–June 1991): 58–64.

Sylvere Lotringer, “Third Wave: Art and the Commodification of Theory,” Flash Art (May–June 1991): 89–93.

Michael Kimmelman, “At the Whitney, a Biennial That’s Eager to Please,” The New York Times, 19 Apr 1991, C1, C24.

Peter Schjeldahl, “Cutting Edge,” The Village Voice, 30 Apr 1991, 93–94.   

Christine Temin, “Andover Studies the Art of Giving,” The Boston Globe, 24 Apr 1991.

Francoise Nyffenegger, “Peter Halley at the Museum of Contemporary Art, Pully,” La Tribune de Geneve, Geneva, 4 Apr 1991.

Bill Jones, “Peter Halley, Robert Raushenberg, Mel Bochner,” Tema Celeste (Mar–Apr 1991): 85.

“CAPC, Bordaeux,” Arts Graphiques (Feb–Apr 1991).

Anne Kerner, “Geo-Comet,” Museart (Feb 1991).

Hiroko Tamaka, “Art is Beautiful: Interviews with New York,” Kawade Shobo Shinsha (1991): 165–168.

Bill Jones, “American Artists of the Eighties,” Tema Celeste (Jan–Feb 1991): 84.

“Flash of Wit,” Gaipied, Paris, 9 Jan 1991.

“Bordeaux: Halley’s Comet,” Parcours Air International (Jan 1991).

“Not Only Abstract,” Connaissance des Arts (Jan 1991).

“Peter Halley,” En Ville (Dec 1990–Jan 1991).

“Parlor Game,” Objectif Aquitaine (Dec 1990–Jan 1991).


Laura Cottingham, “Reviews: The Last Decade—Eighties Artists,” Contemporanea (Dec 1990): 88–89.

Kristine McKenna, “Halley’s New Universe: Spirituality and Technology,” The Los Angeles Times, 14 Dec 1990, F23.

Roberta Smith, “Grouping of Abstracts for Serious Looking,” The New York Times, 7 Dec 1990, C24.

Nancy Stapen, “Entering a New Dimension,” The Boston Globe, 15 Nov 1990, 105–106.

Peter Nesweda, “The Big Art Machine,” Der Standard, Vienna, 23 Oct 1990, 11.   

Rainer Metzger, “Peter Halley, Julian Opie, Giulio Paladino,” Flash Art (Oct 1990): 162–163.

Justin Hoffmann, “Peter Halley, Julian Opie, Giulio Paolini,” Kustforum 108 (Jun–July 1990): 337–338.

Gretchen Faust, “Peter Halley,” Arts Magazine (May 1990): 112–113.

Paul Richard, “Opposite Attractions,” The Washington Post, 22 Apr 1990, G1.

Jan Avgikos, "Tell Them it Was Wonderful," Artscribe (Mar–Apr 1990): 67.

Brooks Adams, “Peter Halley at Sonnabend,” Art in America (Mar 1990): 195–196.

Joshua Decter, “Peter Halley,” Contemporanea (Mar 1990): 89.

Eleanor Heartney, “Peter Halley: Sonnabend,” Artnews (Feb 1990): 155.

Giancarlo Politi, "Peter Halley," Flash Art, n. 150 (Jan–Feb 1990): 81–87.


Roberta Smith, “Minimalism’s Slow Fire,” The New York Times, 10 Dec 1989.                     

Waldemar Januszczak, “Art,” Hanatsubaki, n. 474 (Dec 1989): 40.

James Hall, "Neo-Geo's Batchelor Artists," Arts International (Winter 1989): 34.

Rainer Metzer, “Empty, Cold, Naked Materials,” Münchner Applaus, Munich, Oct 1989.

“Only Cold Materials Remain,” Mittelbayerische Zeitung, Munich, 5 Oct 1989.

Katharina Hegewisch, “The Stimulus of a Subway Map: ‘Four Artists from New York’ at the Munich Kunstverein,”
Frankfurter Allgemeine Zeitung, 3 Oct 1989, 36.

Eva Karcher, “Fata Morgana,” Süddeutsche Zeitung, Germany, n. 291, Oct 1989, 16.

Demetrio Paparoni, “Science and Significance: A Conversation Between Peter Halley and Demetrio Paparoni,” Tema Celeste
(Oct–Dec 1989): 51–53.

Karl Prestele, “Art as Quarry,” TZ, Germany, 20 Sep 1989.

Jorge Luis Marzo, “American Geometric Abstraction. An Entry into the Social: Peter Halley and Techological Criticism,”
Quaderns: Fundació Caixa de Pensions (Sep 1989): cover, 40–50. 

Demetrio Paparoni, "Silence and Meaning. Peter Halley," Tema Celeste (Jul–Sep 1989): 55–57.

David Batchelor, "A Man in a Sombrero Frying an Egg," Artscribe (Summer 1989): 95.

Ursula Bode, “Krefeld: Peter Halley,” Die Zeit, Germany, 2 June 1989.

Michael Kimmelman, “Touring Show of Soviet and American Artists,” The New York Times, 16 May 1989, C15, C20.

Heinz J. Ingenpahs, “The Sheer Emptiness of Walls,” Westdeutsche Zeitung, Düsseldorf, 12 May 1989.

Michael Vaupel, “Prisoners in the Area,” Westdeutsche Zeitung, Düsseldorf, 3 May 1989.

Christian Leigh, "Into the Blue," Art & Auction (May 1989): 268.

Martin Bochynek, “Peter Halley: The Abstract Prisoner,” Marabo, n. 6 (1989): 80.

“Peter Halley’s Cool Paintings,” Rheinische Post, Düsseldorf, 29 Apr 1989.

John Miller, “Peter Halley’s Geometry and the Social,” Artscribe (Mar–Apr 1989): 64.

Shaun Caley, “Peter Halley: Jablonka, Cologne,” Flash Art (Mar–Apr 1989): 118.

Carolyn Bakargiev Christov, “In Prison with Dionysius,” 24 Ore, Naples, 28 Mar 1989.

Kenneth Baker, “Review: Carnegie International, Carnegie Museum of Art,” Artforum (Mar 1989): 138–139.

Angelo Trimarco, “Peter Halley,” Il Mattino, Naples, 4 Mar 1989.

Christian Leigh, “The Silent Baroque,” Balcon, n. 5–6 (1989): 56–65.

“Michael Schwartz & Peter Halley in New York,” Galleries Magazine (Feb–Mar 1989): cover.

Suzanne Slesin, “Where Contemporary Art is the Décor,” The New York Times, 2 Feb 1989, C1, C6.

Isabelle Graw, “Spotlight: The American Bi-National,” Flash Art (Jan–Feb 1989): 108–109.

D. Eric Bookhardt, "Peter Halley," Art Papers (Jan–Feb 1989): 8–10.

Isabelle Graw, “Carnegie International,” Galeries Magazine (Dec 1988–Jan 1989): 76–78.


Daniela Morera, “Art Now,” L’Uomo Vogue (Dec 1988): 138–139.

Dodie Kazanjian, “Collins & Milazzo, Talent Scouts,” House & Garden (Dec 1988): 74.

Claudia Hart, "Intuitive Sensitivity: an Interview with Peter Halley and Meyer Vaisman," Artscribe (Nov–Dec 1988): 36–39.

David Carrier, “Baudrillard as Philosopher, or, The End of Abstract Painting,” Arts Magazine (Sep 1988): 52–60.

Margaret Sundell and Thomas Beller, "An Interview with Peter Halley,” Splash (Summer 1988).

Ronald Jones, “Hover Culture,” Artscribe (Summer 1988): 50–51.

Ronald Jones, “Peter Halley,” Artscribe (Summer 1988): 85.

Michel Segard, “Peter Halley,” New Art Examiner (June 1988): 43.

Peter Plagens, “The Emperor’s New Cherokee Limited 4x4,” Art in America (June 1988): 23–24.   

Tiffany Bell, "On Barnett Newman: Peter Halley and Jeremy Gilbert-Rolfe," Parkett, n. 16 (1988): 18–27.

Terrington Calas, “Cells and Conduits,” The New Orleans Art Review (May–June 1988): 2–3.

Paul Taylor, “Spotlight: Cultural Geometry,” Flash Art (May–June 1988): 124–125.

Jeremy Gilbert-Rolfe, “Non-representation in 1988: Meaning Production Beyond the Scope of the Pious,”
Arts Magazine (May 1988): 30–39.

Thomas McEvilley, “Marginalia,” Artforum (May 1988): 11–12.

Adam Gopnik, “The Originals,” New Yorker, 23 May 1988, 68–71.

Roger Green, “Simply Complex,” Times Picayune, New Orleans, 8 May 1988, J3.

Paul Osterow, “The Round Table Project,” Bomb (Spring 1988): 42.

Roger Green, “Peter Halley in Town, in Spotlight,” Times Picayune, New Orleans, 27 Apr 1988, K-12.

Alan G. Artner, “Halley Uses Critiques on Culture to Shore Up Feeble Work,” Chicago Tribune, 22 Apr 1988, Section 7, 63.

Hiroko Tanaka, “Peter Halley,” Hi Fashion, n. 166 (Feb 1988): 150–151.

Wolfang Max Faust, “Now New, New York,” Wolkenkratzer (Jan–Feb 1988): 20–25

Achille Bonita Oliva, “Neo-America,” Flash Art (Jan–Feb 1988): 62–66.

John Russell, “At the Saatchi Collection, A Thin Show of NY Art,” The New York Times, 3 Jan 1988, H27–H28.

Joseph Scanlan, “Chicago: Primary Structures,” Dialogue, An Art Journal (Jan–Feb 1988): 26.

Daniela Morera, “New York – New Art,” Vogue Italia (Jan 1988): 196–203.

Donald Kuspit, “Peter Halley,” Artforum (Jan 1988): 112–113.

Gianfranco Mantegna, "The Transcendence of Technology: Peter Halley," Tema Celeste (Dec 1987–Feb 1988): 34–36, 71–72.


Dan Cameron, “In the Path of Peter Halley,” Arts Magazine (Dec 1987): 70–73.

Tatsumi Shinoda, “Peter Halley,” Bijustu-Techo (Dec 1987): 38–41.Lilly Wei, “Talking Abstract II,” Art in America (Dec 1987):
cover, 3, 120–121, 171.

Dan Cameron, “New American Art,” Art & Design, v. 3 (1987): 33–43.

Claudia Hart, "Intuitive Sensitivity: an Interview with Peter Halley and Meyer Vaisman," Artscribe (Nov–Dec 1987): 36–39.

Mark Stevens, “Neo-Geo: Art’s Computer Hum,” Newsweek, 16 Nov 1987, 119.

Thomas Wulffen, “Tuzina, Halley, Chamberlain, Kiecol,” Artscribe International (Nov–Dec 1987): 79–80.

“Simili-Art,” Connaissance des Arts, n. 428 (Oct 1987): 94–95.

Tricia Collins and Richard Milazzo, “Radical Consumption and the New Poverty: A Discourse on Irony and Superfluity,”
New Observations, n. 51 (Oct 1987): 2–23.

Roberta Smith, “Peter Halley at Sonnabend,” The New York Times, 30 Oct 1987, C34.

Paul Taylor, “My Art Belongs to Dada,” The Observer, London, 6 Sep 1987, 16–17.

Stuart Morgan, “Art: A Different Stripe,” Vogue, British edition (Sep 1987): 32–36, 46.

Andrew Graham-Dixon, “Neo-Geo,” Vogue, British edition (Sep 1987): 360–362, 408.

Grace Glueck, “Tastemakers,” The New York Times, 30 Aug 1987, SMA72.

William Zimmer, “Visiting Art Museums and Galleries in Three States,” The New York Times, 14 Aug 1987, C1, C26.

Mary-Anne Ward, “The Post-Abstract-Abstract Strategy,” Manhattan Spotlight (Aug 1987): 40–43.

Grace Glueck, “What Do You Call Arts Newest Trend: Neo-Geo...Maybe,” The New York Times, 6 July 1987.

Roberta Smith, “Generations of Geometry, an Abstract Show,” The New York Times, 17 July 1987, C32.

Mariuccia Casadio, “Bickerton, Halley, Koons and Vaisman: The Theoretical Ideas Behind their American Ambitions,” Vanity (Jul–Aug 1987): 118–123.

Vivien Raynor, “In Ridgefield, Connecticut, a Post-Abstract Show,” The New York Times, 26 June 1987, C26.

Fred Felhau, “Spotlight: Donald Judd and Peter Halley,” Flash Art (Summer 1987): 93.

Robert Pincus-Witten, “Entries: Electro-Static Cling or the Massacre of Innocence,” Artscribe International (Summer 1987): 36–41.

Carey Lovelace, “The Whitney Gets It Right, Almost,” New Art Examiner (Summer 1987): 24–26.

Arcangelo Izzo, “Sculpture al supermercato,” il Giornale di Napoli, Naples, 4 June 1987.

Thomas Zaunschirmer and Alexander Puhringer, “Neo-Conceptualists: The New York Scene,” Noemia Art Magazine (Apr–May 1987): cover, 18–38.

P.H. Meyer, “Peter Halley,” Juliet Art Magazine, n. 31 (Apr–May 1987): 11, 24.

Dinitia Smith, “Art Fever,” New York, 20 Apr 1987, 34–43.

Sylviane Gold, “Whitney’s Biennial: A Modern Mishmash,” USA Today, 14 Apr 1987.

Elizabeth Richardson, “Shaping a Firm Minimalism,” Artweek, 21 Mar 1987, 4.

Suzanne Muchnic, ”Peter Halley,” The Los Angeles Times, 20 Mar 1987, Section IV.

Steven Henry Madoff, “Purgatory’s Way,” Arts Magazine (Mar 1987): 16–19.

Demetrio Paparoni, “Post-Pictorial Geometry,” Tema Celeste (Mar 1987): 23–27.

"Anti-Baudrillard," File Magazine, n. 28 (1987): 110–119.

Carter Ratcliff, “I Like the Free World,” Artforum (Feb 1987): 88.

Noemi Smolik, “Whoever Sets Up Urinals Shouldn’t Wonder When They’re Pissed Into,” Volkenkratzer (Jan–Feb 1987): 86.

Eleanor Heartney, “The Hot New Cool Art: Simulationism,” Art News, v. 86, n. 1 (Jan 1987): 130–137.

Meir Ronnen, “What You See Is What You Get,” The Jerusalem Post, 30 Jan 1987.

Enrico Comi, "On Similia/Dissimilia," Spazio Umano/Human Space, n. 4 (1987): 78.


Steven Henry Madoff, “Vestiges and Ruins: Ethics and Geometric Art in the Twentieth Century,” Arts Magazine (Dec 1986): 32–40.

Dan Cameron, “Transparencies,” Art Criticism (1986): 1–10.

Paul Taylor, “Cumulus from America: The Return of (Conceptual) Art,” Parkett, n. 9 (1986): 120–124.

“Keith Harring [sic], Peter Halley,” City, Paris, Nov 1986.

Calvin Tomkins, “Between Neo- and Post-,” The New Yorker, 24 Nov 1986, 104–113.

“Peter Halley, Keith Haring,” L’Express Paris, 14–20 Nov 1986, 42.

Kay Larson, “Masters of Hype,” New York Magazine, 10 Nov 1986, 100–103.

“New Abstraction,” Paris Match, 31 Oct 1986.

Paul Taylor, “The Hot Four,” New York Magazine, 27 Oct 1986, 50–56.

Amei Wallach, “The New Art Is Soho Cool,” Newsday, 26 Oct 1986, Section II, 3,17.

Roberta Smith, “Four Young East Villagers at Sonnabend Gallery,” The New York Times, 24 Oct 1986, C30.

Eleanor Heartney, “Neo–Geo Storms New York,” New Art Examiner (Sep 1986): 26–29.

Andrea Busto, "Art in Paris," Mostre & Musei, n. 2 (Sep 1986): 62.

Christian Besson, “Abstract Paintings,” Art Press, n. 106 (Sep 1986): 16–27.

Lane Relyea, “Hot Commodities,” L.A. Weekly, Los Angeles, 15 Aug 1986, 21.

Stephen Westfall, “The Synthetic Sublime,” L.A. Weekly, Los Angeles, 15 Aug 1986, 20.

Alan Jones, “Paravision: An Interview with Tricia Collins and Richard Milazzo,” Galeries Magazine (Aug–Sep 1986): 40–47, 93–94.

Susan Mnuchin, “Commodity-Culture Art Rides Again,” The Los Angeles Times, 26 July 1986, Section V, 9.

Hal Foster, “Signs Taken for Wonders,” Art in America (June 1986): 81–91, 139.

Douglas McGill, “The Lower East Side’s New Artists,” The New York Times, 3 June 1986, C13.

"From Criticism to Complicity," Flash Art (Summer 1986): 46–49.

Joshua Decter, “Peter Halley,” Arts Magazine (Summer 1986): 110.

Holland Cotter, “Peter Halley/International with Monument,” Flash Art (Summer 1986): 68.

Ronald Jones, “Six Artists at the End of the Line: Gretchen Bender, Ashley Bickerton, Peter Halley, Louise Lawler, Allan McCollum, and Peter Nagy,” Arts Magazine (May 1986): 49.

John Russell, “Bright Young Talents: Six Artists with a Future,” The New York Times, 18 May 1986, H1, H31.

Tricia Collins and Richard Milazzo, “Spiritual America,” CEPA Quaterly, v. 1, n. 3 (Spring 1986): 4–8.

Donald Kuspit, “Young Necrophiliacs, Old Narcissists: Art About the Death of Art,” Artscribe International (Apr–May 1986): 27–31.

Klaus Ottman, “Supermannerism,” Flash Art, n. 127 (Apr–May 1986): 59–61.

Tricia Collins and Richard Milazzo, “Tropical Codes,” Kunstforum International (Mar–May 1986): 308–337.

Octavio Zaya, “The End of Neo-Expressionism, or, The Return of Abstraction,” Hartismo, n. 10 (Jan–Mar 1986): 45–60.

Jeanne Siegel, “Geometry Desurfacing,” Arts Magazine (Mar 1986): 26–30.

Michele Cone, "Peter Halley," Flash Art (Feb–Mar 1986).


Helena Kontova and Giancarlo Politi, "Two Italians in New York," Flash Art, n. 125 (Dec 1985–Jan 1986), 38.

Carlo McCormick, “Poptometry,” Artforum (Nov 1985): 87–91.

Lauren Leja, “Art Review: Lively Third Annual ‘Currents’ Exhibit at ICA,” Boston College Newspaper, 30 September 1985, 22.

Jeanne Siegel, "The Artist/Critic of the Eighties: Peter Halley and Stephen Westfall,” Arts Magazine (Sep 1985): 72–79.
Reprinted: Jeanne Siegel, Art Talk: The Early 80s (New York: Capo Press, 1989).

Mary Truitt, East Village Eye, New York, June 1985.

Walter Robinson, “The New Capital at White Columns,” Art in America (Apr 1985): 207–209.

Beth Biegler, East Village Eye, New York, Feb 1985.


David Craven, “Science Fiction and the Future of Art,” Arts Magazine (May 1984): 125–129.

Ron Warren, “Brilliant Color,” Arts Magazine (Apr 1984): 38–39.


Susan Harris, “Selections 19,” Arts Magazine (Nov 1984): 59.




index A to Z, edited by Wendy Vogel and Rachel Ward (New York: Rizzoli International Publications, Inc., 2014).


Peter Halley: Selected Essays, 1981–2001, edited by Richard Milazzo (New York: Edgewise Press, 2013).


Peter Halley: Recent Essays, 1990–1996, edited by Richard Milazzo (New York: Edgewise Press, 1997).


La Crise de la Géométrie et Autre Essais 1981–1987, French translation of Collected Essays (Paris: École Nationale Supérieure des Beaux-Arts, 1992).


Scritti Sull'Arte ed Altro, Italian translation of Collected Essays (Siracusa, Italy: Tema Celeste, 1990).


Peter Halley: Collected Essays 1981–1987 (Zürich: Bruno Bischofberger Gallery, 1988).





“Artists’ Artists Best of 2017,” Artforum (Winter 2017): 69.

“Excerpts from the 80s,” reprinted from Peter Halley: Selected Essays, 1981–2001,

Flash Art, n. 317 (Nov/Dec 2017): 68–71.


“Peter Halley: Critics Page,” The Brooklyn Rail (15 Dec 2015): 24.


“The Dehumanization of Art: Jose Ortega y Gasset and Ad Reinhardt,” adaptation of 1980 essay, edited by Barbara Rose, The Brooklyn Rail, (Jan 2014).

“Franz Erhard Walther: The Body Decides,” Artforum (Jan 2014): 131.


“Abstraction and Culture,” reprint of 1991 essay, in Abstraction, Whitechapel: Documents of Contemporary Art series, edited by Maria Lind (Cambridge, MA: MIT Press, 2013).


“Nature and Culture,” reprint of 1983 essay, in Nature: Documents of Contemporary Art, edited by Jeffrey Kastner (Cambridge, MA: MIT Press, 2012).

“Sensibility of the Times, Revisited: Peter Halley,” Art in America (Dec 2012): 164–5.

“Statement,” in Frank Stella—The Retrospective: Works 1958–2012, exhibition catalogue (Wolfsburg, Germany: Kunstmuseum Wolfsburg, 2012)


“Franz Erhard Walther: Close Encounters of Three Kinds,” Flash Art, n. 276 (Jan 2011).


“An American Homage to Baudrillard,” Le Nouvel Observateur, Paris, 22 July 2007.                    



“Introduction,” in Andrej Zielinski: Homecoming, exhibition catalogue (Overland Park, KS: The Nerman Museum of Contemporary Art, 2006).


“Barnett Newman,” in The Shape of Color, exhibition catalogue (Toronto: Art Gallery of Canada, 2005).


“Fashion Victims,” Artforum, (May 2004): 197–199.


“The Box Office,” in White Columns 20th Anniversary Anthology, edited by Collins & Milazzo (New York: White Columns, 2003).

“Franz Erhard WaltherWork Needs the Body: A Strong Misreading,” reprinted from 1998, in Franz Erhard Walther: Orte der Enstehung—Orte der Wirkung, exhibition catalogue (Fulda, Germany: Vonderau Museum, 2003).


“Shock of the Old,” Artforum, (Summer 2002): 163.

“Alex Katz’s New Work,” in Alex Katz Beachscenes and Landscapes, exhibition catalogue (Paris: Galerie Thaddaeus Ropac, 2002).


“Fifteen Little Electric Chairs,” in Andy Warhol: Little Electric Chair Paintings, exhibition catalogue (New York: Stellan Holm Gallery, 2001).

“September 25, 2001,” in Peter Halley: Paintings, exhibition catalogue (London: Waddington Galleries, 2001).


“A Utopian Moment, I Guess,” Surface Magazine, n. 23 (May 2000).

“A Short History of the Cell,” in Airtime: A Series of Wireless Art Projects (New York: Creative Time, 2000).


“Pop Secret: Nickolaus Krushenick,” Artforum (May 1999): 68.

“The Year 2000,” Art Papers, v. 23 (Dec 1999).


“Franz Erhard WaltherWork Needs the Body: A Strong Misreading,” in Franz Erhard Walther—Ich bin die Skulptur, exhibition catalogue (Hannover: Kunstverein Hannover, 1998). 

“Artforum Top Ten,” Artforum (Summer 1998): 38.


“The 80s and Jewishness,” New Art Examiner, v. 24, n. 9 (June 1997).

“Smithson's Crudity,” Art + Text, n. 56 (Feb–Apr 1997): 25–26.

“The Everyday Today,” in Architecture of the Everyday, edited by Steven Harris and Deborah Berke (Princeton, NJ: Princeton Architectural Press, 1997).

“Introduction,” in Chris Martin, exhibition catalogue (New York: Pierogi Gallery, 1997).

“Franz Erhard Walther,” in Fort! Da! Cooperations, exhibition catalogue, (Ostfildern, Germany: Villa Merkel Galerie der Stadt Esslingen and Hatje Cantz, 1998).


“Artificial Pleasures: Peter Halley on Rem Koolhaas’ Eurolille,” Frieze n. 126 (Jan–Feb 1996).

“Immigrant Song,” in Collaborations: Warhol, Basquiat, Clemente, exhibition catalogue, Fridericranium Museum, Kassel, and Museum Villa Stuck, Munich (Ostfildern, Germany: Hatje Cantz, 1996).

“Introduction,” in Chuck Nanney, exhibition catalogue (New York: Sandra Gering Gallery, 1996).

“Abstraction and the Linguistic Paradigm,” Tema Celeste, n. 58 (Sep 1996).


“Images, Masks & Models,” Tema Celeste, n. 53 (Sep 1995).

“On Cézanne,” La Libération (Sep 1995).     

“A Short History of Affects,” DeWitte Raaf, n. 53 (Jan 1995).

“Timothy Greenfield-Sanders,” in Timothy Greenfield-Sanders Selected Portraits 1985–1995, exhibition catalogue (Cologne, Germany: Kunst-Station Sanct Peter, 1996).


“Statement,” in Peter Halley: Mono-Reliefs, exhibition catalogue (New York: Grand Salon, 1994).

“Someday You’ll be Able to go to a Party and be the Only One There: Notes on Virtual Reality,” Soft World 2.1: The Imperial Message, exhibition catalogue (Columbus, OH: Wexner Art Center, 1994).

“My Portrait by Andy,” Frieze, n. 16 (May 1994): 40.

“Mondrian, Painting, and Change,” DeWitte Raaf (Oct 1994).

“Intersection,” in The Use of Pleasure, exhibition catalogue (San Francisco: Terrain Gallery, 1994).


“Some Notes on the Computer Landscape,” Tema Celeste, n. 40 (Spring 1993): 51.


“Abstract Space,” in Through the Looking Glass: Artists First Encounters with Virtual Reality, exhibition catalogue (New York: Jack Tilton Gallery,1992).

“Openings: Scott Grodesky,” Artforum (Nov 1992): 102.


“Abstraction and Culture,” Tema Celeste, n. 32–33 (Autumn 1991): 56–60.

“Geometry and the Social,” Balcon, n. 8–9 (1991).


“The Americans,” in Peter Halley, exhibition catalogue (Boston: Mario Diacono Gallery, 1990).

“Ronald Jones, Marcel Duchamp, and The New South,” in Ronald Jones, exhibition catalogue (San Jose: Museum of Art, 1990).

“The City as Festival,” in Robert Tannen: REPROspective evitcepsORPER, exhibition catalogue (New Orleans: Contemporary Art Center, 1990).


“The Day of Two Noons,” in Vertigo, exhibition catalogue (Salzburg: Edition Thaddaeus Ropac,1989).


“Notes on Abstraction,” Arts Magazine (June 1987).


“Frank Stella… and the Simulacrum,” Flash Art, n. 126 (Jan 1986).

“A Response to Barnett Newman’s ‘The Sublime is Now,’” Arts Magazine (Mar 1986).

“The Deployment of the Geometric,” Effects (Winter 1986).


“On Line,” New Observations, n. 35 (1985).

“Notes on Nostalgia,” New Observations, n. 28 (1985).

“After Art,” New Observations, n. 27 (1985).


“The Crisis in Geometry,” Arts Magazine (June 1984).

“The Frozen Land,” ZG Magazine (Nov 1984).


“A Note on the Neo-Expressionism Phenomenon,” Arts Magazine (Mar 1983).

“Introduction,” Science Fiction, a special issue published in conjunction with the exhibition Science Fiction at John Weber Gallery, New Observations, n. 17 (1983).

“Nature and Culture,” Arts Magazine (Sep 1983).


“Ross Bleckner: Painting at the End of History,” Arts Magazine (May 1982).


“Beat, Minimalism, New Wave, and Robert Smithson,” Arts Magazine (May 1981).

“Against Post-Modernism: Reconsidering Ortega,” Arts Magazine (Nov 1981).




“Peter Halley in Conversation with Paul Lee,” in Paul Lee (New York: Karma, 2018).


“Sam Gilliam with Peter Halley,” in Sam Gilliam, exhibition catalogue (Los Angeles: David Kordansky Gallery, 2017).

“In Conversation with Peter Halley,” in Leseli Smith III / Left to Think Alone (Birmingham, AL: Maus Contemporary, 2017).


“Peter Halley in Conversation with Wolfgang Tillmans,” in Wolfgang Tillmans, 2nd edition (London: Phaidon Press Ltd., 2014).


“A Conversation with Kehinde Wiley and Peter Halley,” in Kehinde Wiley, edited by Thelma Golden, Robert Hobbs, Sarah H. Lewis, et al. (New York: Rizzoli, 2012).


“Interview: Peter Halley and Ryan McGinness,” in Ryan McGinness: Works (New York: Rizzoli, 2009).


“Saint Clair Cemin with Peter Halley,” in Saint Clair Cemin, exhibition catalogue (Brussels: Gallery Alain Noirhomme, 2007).

“Elaine Sturtevant with Peter Halley,” index magazine (Sep–Oct 2005).


“Jonathan Safran Foer with Peter Halley,” index magazine (Sep–Oct 2004).

“Helmut Lang with Peter Halley,” index magazine (Apr–May 2004).

“Dana Schutz with Peter Halley,” index magazine (Feb–Mar 2004).


“Elizabeth Plater-Zyberk with Peter Halley,” index magazine (Jun–July 2003).

“Jean Todt with Peter Halley,” index magazine (Feb–Mar 2003).


“Wolfgang Tillmans with Peter Halley,” in Wolfgang Tillmans (London: Phaidon, 2002).

“Sylvie Fleury with Peter Halley,” index magazine (Apr–May 2002).

“Stephen Gan with Peter Halley,” index magazine (Feb–Mar 2002).



“Gaetano Pesce with Cory Reynolds and Peter Halley,” index magazine (Sep–Oct 2001).

“Princess Marianne, Fursten zu sayn-Wittgenstein-sayn with Peter Halley,” index magazine (Sep–Oct 2001).

“Tom Sachs with Peter Halley,” index magazine (Jun–July 2001).

“Abalos & Herreros with Peter Halley,” index magazine (Apr–May 2001).


“Jean-Charles de Castelbajac with Peter Halley,” index magazine (Sep–Oct 2000).

“Stephen Shore with Peter Halley,” index magazine (Apr 2000).


“Isabella Rossellini with Peter Halley,” index magazine (Nov–Dec 1999).

“Wayne Koestrnbaum with Peter Halley,” index magazine (May–June 1999).

“Jim Walrod with Peter Halley,” index magazine (Jan–Feb 1999).


“Bianca Jagger with Peter Halley and Bob Nickas,” index magazine (Jun–July 1998).

“Andy and Kate Spade with Peter Halley and Ariana Speyer,” index magazine (Mar–Apr 1998).


“Ellen Gallagher with Peter Halley,” index magazine (Jul–Aug 1997).

“John Waters with Peter Halley and Bob Nickas,” index magazine (Jan 1997).


“Rick Prelinger with Alex Alberro and Peter Halley,” index magazine (Nov 1996).

“Udo Kier with Peter Halley, Bob Nickas, and Wolfgang Tillmans,” index magazine (Apr 1996).

“Eduardo Machado with Peter Halley,” index magazine (Feb 1996).


“Richard Prince Interviewed,” ZG Magazine, n. 10 (Spring 1984).