Peter Halley's first individual exhibition in 1985 was sponsored by the International with Monument Gallery, directed by Meyer Vaisman and Elisabeth Koury. However, his writings had already been appearing regularly in journals such as Arts Magazine since 1981. The recurrent use of synthetic materials such as Day-Glo and Roll-a-Tex acrylic paints has marked his language since the early eighties. The eminently minimalist and colourist character of his compositions, often associated with Barnett Newman, became increasingly connected with a repertoire of architectural and technological images. The references to French post-structuralism (Michel Foucault and Jean Baudrillard) eventually identified his pictures with visions of society as a gaol. In spite of their abstract appearance, which derives from utopian and Constructivist aesthetics, Halley's paintings are interpreted as a criticism of the idealisms of the 20th century. Exhibitions like "Art and its double" made his work known internationally, along with that of other artists connected with postmodern appropriationism. After becoming the outstanding representative of "neo-geo", his work turned towards pop tendencies. While his paintings enriched their chromatism, filling the composition with colours, his writings placed him in the broader context of consumer culture. As he himself says, his intention is to produce increasingly intense paintings, just as faster and faster cars are manufactured.