Peter Nagy is it least is well-known on the art scene for his organisational ability as for his individual artistic output, particularly since the early 1980s, when together with Alan Belcher he founded the Nature Morte Gallery in New York’s then desolate East Village. More curatorial than commercial in its focus, the gallery showed work by Vito Acconci, Ross Bleckner, and Sherrie Levine, among others. The gallery closed its doors in 1988, and four years later Nagy emigrated to India, where in addition to becoming a leading contemporary artist himself, he opened new exhibition spaces, first in New Delhi and later in Berlin, and used them to raise the international profile of Indian artists like Dayanita Singh, Subodh Gupta, Jagannath Panda, and Bharti Kher. Die for Love (Painting for Abdoullah al-ahdal and Salem el-Beher) (1987) is an excellent example of his work at the end of the decade. His output at the time was characterised by a preference for black and white, a clean graphic style, and the use of pop and ironic iconography to stand against corporate images. Architecture and the notion of decoration were also of growing importance in his work.