Peter Halley, 2017 by Gary Tatintsian Gallery

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GARY TATINTSIAN GALLERY moscow

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With ab-ex, minimalism and pop art embedded in his DNA, new york painter Peter halley began in the early 1980s, as part of the neo-geo generation, To create Fl at, tactile paintings playing on modernist pictorial Rules. Also a prescient and influential writer, And the mastermind behind cult indie magazine Index, Halley transforms the language of geometric abstraction into a commentary on our post-industrial, technologygoverned society, with an acute concern for surveillance, isolation, and how contemporary life is wired.

Нью-йоркский художник Питер Хелли появился на арт сцене в начале 1980-х как представитель поколения неоконцептуалистов (нео-гео). Используя

элементы

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низма, минимализма и поп-арта, Хелли, создает двухмерные, но в то же время текстурные работы, соблюдая основные каноны

живописи мо-

дернизма. Хелли — преподаватель Йельского университета, автор ряда очерков, идейный вдохновитель и руководитель журнала Index, — трансформирует в своих работах язык геометрической абстракции в отражение постиндустриального, технологически управляемого общества с остро стоящей проблемой контроля, изоляции и информационных связей в современной жизни 10

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i m a g i n e d i n s t a l l a t i o n s We asked Peter to create photo collages imagining his paintings installed in architectural settings of his choosing. ON The following pages, Halley imagines his paintings in the sheremetev Palace, A bauhaus residence, the Catherine Palace and an interior by tadao ando. Мы попросили Питера вообразить свои работы интегрированными в различные архитектурные пространства. фото-коллажей,

Хелли

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в Шереметьевском Дворце – Музее Музыки (Санкт-Петербург), Резиденции Баухаус (Дессау), Большом

Екатерининском

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S p a c e w a l k 2017 M E TA L L I C A N D P E A R L E S C E N T A C RY L I C , R O L L-A-T E X O N C A N VA S 2 3 7. 5 x 1 9 9 . 5 x 1 0 .1 с м

M a c h i n e 2017 M E TA L L I C A N D P E A R L E S C E N T A C RY L I C , R O L L-A-T E X O N C A N VA S 24 5 x 1 9 9 . 5 x 1 0 .1 с м

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2010 F L U O R E S C E N T, M E TA L L I C , A N D P E A R L E S C E N T A C RY L I C , R O L L-A-T E X O N C A N VA S 203 x 223.5 x 10 cm

О НЬЮ-ЙОРКЕ 80-Х К 80-м годам Нью-Йорк снова стал расти, финансовые проблемы 70-х закончились. Это было захватывающее время. В те годы на меня повлияли художники предыдущего поколения — Ричард Принс, Барбара Крюгер, Шерри Левин. Они приехали в Нью-Йорк в 70-х и создали вид искусства, изменивший правила игры, — стали создавать изображения изображений. О МИРЕ КАК ТЮРЬМЕ Когда я переехал в Нью-Йорк в начале 80-х, постмодернизм достиг своего пика. Постмодернизм — это критика утопичного модернизма. Рем Колхас был новым Ле Корбюзье среди архитекторов. Меня же всегда интуитивно тянуло к геометрической абстракции Малевича, Мондриана и американских художников, как Эльсуорт Келли. Но затем я задумался: о чем, собственно, говорит абстракция? Малевич или Мондриан видели в ней идеальное, технологизированное будущее. Но в 80-х стало ясно, что это самое будущее работает не слишком хорошо. Я начал преобразовывать квадраты Мондриана в геометрические «тюрьмы». Современная среда обитания челове-

PETER HALLEY IN MOSCOW, 2017

ка состоит из геометрии, проникающей в изолированные пространства: дома, квартиры, машины, впоследствии — компьютеры. Я уже сделал несколько работ с тюрьмами-диаграммами, когда наткнулся на книгу Мишеля Фуко «Надзирать и наказывать: Рождение тюрьмы», — она стала для меня откровением. Затем я стал размышлять о том, как наши «тюрьмы» соединяются. Тогда я представил мир, в котором мы физически изолированы, но соединены посредством технологий. Тогда еще не было интернета и многие думали, что я слегка не в себе. ОБ АБСТРАКЦИИ Я женат на художнице-фигуративисте Энн Крейвен — она изображает предметы, которые вы можете встретить в реальной жизни. А меня никогда не интересовало то, что ты и так можешь увидеть. Абстракция — это искусство о том, что творится у тебя в голове. А также об идеализме и геометрических формах. При этом я не считаю себя исключительно абстрактным художником — я создаю диаграммы, воплощающие устройство реальности, смоделированные при помощи современных технологий.

WITH ANDY WARHOL, NYC, 1986

NEW YORK OF THE 80S In the 1980s New York started to grow again. The financial crisis of the 1970s was over. It was a fascinating time. I was looking at the artists of the previous generation — Richard Prince, Barbara Kruger, Sherrie Levine. They had come to New York in the 1970s and developed an approach that changed the rules of the game; they started making images of images. THE WORLD AS A PRISON When I moved to New York in the early 1980s, postmodernism had become pervasive across all the arts. Postmodernism is a critical response to the idealism of utopian modernism. Rem Koolhaas was responding to architects like Le Corbusier, and I was reacting to the geometric abstraction of Malevich, Mondrian, and Americans like Ellsworth Kelly. I started to question: what does abstraction actually express? Malevich and Mondrian saw the future of technology in it. But by the 1980s the technological future had arrived — and it was clear that it hadn’t worked out so well! I began to re-envision Mondrian’s squares as geometric prisons. Geometry governs the modern human

environment, pushing us into isolated spaces: apartments, suburban houses, cars, and later onto the computer. I had already painted several works with these prison images when I came across Discipline and Punish: The Birth of the Prison by Michel Foucault. It was a revelation to me. He put into words exactly what I was trying to understand in my paintings. Then I started thinking about how our “prisons” are connected. I realized that we are physically isolated but connected by technological pathways — telephone lines, highways, the electric grid. The Internet did not exist back then, so a lot of people thought my ideas were a little crazy. ABSTRACTION I am married to a figurative artist, Ann Craven. She paints things that you can see in front of you. I have never been interested in painting things that you can look at. Abstraction is based on representing things that exist only in the mind, such as geometric forms. However, I don’t really consider myself an abstract artist. Strictly speaking, I make diagrams of structures modeled by technology.

INTERNATIONAL WITH MONUMENT, NYC, 1985

О ТЕХНОЛОГИЯХ Я довольно скептично отношусь к цифровым технологиям. Я стараюсь не быть пессимистичным, но сегодня так много рекламы и пропаганды в пользу цифровых технологий — кто-то должен и протестовать. Уже сегодня понятие частного исчезает: когда кто-то идет на ужин с друзьями – он спешит сообщить об этом всему миру в Instagram. Мы создаем изображения и истории в соцсетях, но это лишь избирательное отражение настоящей жизни. Когда я думаю о виртуальной реальности, о технологиях, которые позволят проектировать изображения прямо на сетчатку нашего глаза, мне кажется, что мы все окажемся в «Матрице», — потенциал для манипуляции людьми будет просто невероятным. Не думаю, что новые технологии помогают вырваться из «тюрем», — представьте ребенка, который сидит дома в Facebook, он тоже изолирован от мира. Я верю в то, что живое общение до сих пор необходимо людям. О СПУТНИКОВЫХ СНИМКАХ И INSTAGRAM Когда я был студентом, спутниковая фотография была прочно связана с военными секретами и холодной войной. Много лет спустя Google стали ис-

пользовать спутниковые снимки, и я подумал: «Наконец-то!». Теперь у меня есть аккаунт в Instagram, куда я загружаю только спутниковые снимки Земли. Я начал собирать их года четыре назад. Соцсети в некотором смысле владеют фотографиями, которые вы в них загружаете, — мне показалось забавным загрузить в Instagram фото из Google. Таким образом, получается, что Instagram использует изображения Google. О РАБОТАХ НА ВЫСТАВКЕ В ГАЛЕРЕЕ ГАРИ ТАТИНЦЯНА На выставке в Галерее Гари Татинцяна были представлены две серии работ — выполненные при помощи металлизированной краски roll-a-tex, где «камеры» соединены между собой, по типу мозаики. Другая серия — флуоресцентные работы, с привычными ячейками и каналами на ярком желтом фоне. Я начал использовать металлическую краску двадцать лет назад. Мне интересен не просто цвет, но и тип, фактура краски. Долгие годы я делал полотна, в которых легко угадываются изображения тюрем. Но затем подумал: что, если превратить «тюрьмы» в «камеры» и тесно поставить их рядом друг с другом? Они стали менее узнаваемыми, абстрактными

INSTALLATION, STATE UNIVERSITY OF NEW YORK, BUFFALO, 1997

TECHNOLOGIES I’m really skeptical about digital technology. I try not to be a pessimist, but there are so many people who claim that digital technology will solve all our problems — someone must protest. Today the concept of privacy is disappearing: when someone goes out to dinner with their friends, they hurry to tell the whole world about it on Instagram. We create images and stories on social networks, but it is only a selective reflection of real life. When I think about virtual reality, about technologies that will enable us to project images right on the eye’s retina, it will be like the movie The Matrix — the potential for manipulating our lives will be incredible. I do not think that modern technologies help us break out of our “prisons” — imagine someone sitting at home scrolling through Facebook, that person is also physically isolated from the world. I believe that people communicating faceto-face is still important.

to the public. Then, Google suddenly started putting satellite images of the whole world online. I was so excited. I can’t think of any other kind of photograph that I would rather look at. Today I have an Instagram account where I only upload satellite images from Google Earth. I started posting them four years ago. Since social networks like Instagram claim the rights to all the images that everyone uploads, I thought that it would be funny to upload Google’s images to Instagram, rather than my own. That way, Instagram is stealing Google’s images, not mine! They can fight it out between themselves.

SATELLITE IMAGES AND INSTAGRAM When I was a student, only the military had access to satellite photographs. They were treated as topsecret technology associated with the Cold War. For years, I hoped that someday they would be available

EXHIBITION AT GARY TATINTSIAN GALLERY I am exhibiting two series of works — the all-metallic cell-grid paintings and yellow paintings in which cells and conduits are seen against a flat background. I started making metallic paintings twenty years ago. I’m not only interested in color, but in paint itself — different kinds of paint, like metallic paint. For many years I only used prison images in the grids. But then I thought: “What if I replaced the prisons with cells?” The cell-grids are less representational. It is ambiguous whether they are cells pressed together in a grid or just modernist abstract paintings. Their

PETER HALLEY, INSTAGRAM FEED, 2018

THE SCHIRN RING, SCHIRN KUNSTHALLE, FRANKFURT, 2016

и двусмысленными — и это меня увлекло. Когда вы видите эти работы вживую, переливы цвета напоминают свечение экрана. Но текстура полотен очень насыщенная. Они воздействуют на зрителя по принципу контраста между визуальным и тактильным. В отличие от многих художников, мне нравится, когда кто-то предлагает мне свою интересную идею. Я перенял это от Уорхола. Когда Гари был у меня в студии в Нью-Йорке и увидел одну из моих флуоресцентных работ, он спросил: “Что если сделать целую серию?” Мне очень понравилась эта идея. Главная задача была в том, чтобы использовать как можно больше одной и той же флуоресцентной краски, но при этом сделать работы совершенно разными. Когда смотришь на работы вживую, игра красок напоминает свечение экрана компьютера. О РУССКИХ ИКОНАХ Мы с Гари Татинцяном — большие друзья. Он эксперт в области русской иконописи. Всякий раз, как я был в Москве, он показывал мне впечатляющие музейные и частные коллекции икон. Я не знаю, о чем именно думали художники при монастырях и церквях в Москве в 15 веке, но перспектива изображений впечатляет — соединение отдельных де-

талей в единое целое, почти как в раннем Кубизме. В иконах присутствует яркий красный цвет, которого я еще нигде не видел. Почти как флуоресцентные краски, которые я использую. И конечно, эти изображения называются «иконами» потому, что в их основе лежит идея создания чего-то без времени, а не изображения меняющейся реальности. В 2010 году я создал серию работ под впечатлением от русских икон для выставки в Галерее Гари Татинцяна, используя металлические пигменты и много красной и золотой красок. ОБ ИСКУССТВЕ SITE-SPECIFIC Меня всегда интересовала взаимосвязь живописи и архитектуры. Барочные церкви (как и русские храмы) — отличный пример того, как изображения встроены в пространство. Одну из первых site-specific-работ я сделал в 1995 году в Париже. А несколько лет назад начал сотрудничать с архитекторами и дизайнерами, например с миланским дизайнером Алессандро Мендини и Матали Крассе из Парижа. Однажды я сделал цифровые принты с выдержками из рассказа «Вавилонская библиотека» Хорхе Луиса Борхеса и покрыл ими внутренние стены публичной библиотеки в Мадриде.

DALLAS MUSEUM OF ART, 1995

effect on the viewer relies on the principle of contrast between the visual and tactile. Unlike some other artists, I’m interested when someone has an idea for me — I learned that from Warhol. When Gary visited me in my studio in New York and saw one of my fluorescent yellow paintings, he asked: “What about a whole series?” I really liked the idea. The goal was to use the same fluorescent yellow as much as possible but to make paintings that all feel very different. When you see these works in person, the play of fluorescent colors is like the glow of a computer screen. RUSSIAN ICONS I have been friends with Gary Tatintsian for over ten years — in addition to his passion for contemporary art, he is an expert on Russian icon painting. Whenever I visit Moscow, he takes me around to see amazing works in museums and in private collections. I don’t know what those artists were thinking about in the monasteries and churches in Moscow in the fifteenth century, but the space in these paintings is amazing, incorporating incredible puzzles, almost like early Cubism. These icons often use a very bright red pigment which I’ve never seen anywhere else. It’s

almost like the fluorescent paint that I use. And of course, the paintings are called ‘icons’ because they are based on the idea of creating a timeless icon, not an image of changing reality. That has a relationship to the work that I do. In 2010, I did an exhibition of paintings inspired by Russian icons at Gary’s gallery, using metallic pigments and lots of red and gold. SITE-SPECIFIC ART I have always been interested in the interrelationship between painting and architecture. I’m interested in how paintings were situated within architectural settings in Baroque palaces and in Russian churches, for example. I began doing wall installations combining my paintings with wall-size digital prints in 1995. In recent years, I’ve also started collaborating with architects and designers on these projects, including Alessandro Mendini from Milan and Matali Crasset from Paris. I once did digital prints for the walls of the public library in Usera, Spain, that was designed by the architectural team Abalos [accent] and Herreros. I covered the walls with digital prints in which Jorge Luis Borges’ famous short story, “The Library of Babel,” was inscribed in strange computeraltered letters.

GARY TATINTSIAN GALLERY, MOSCOW, 2010

О ПОКЛОННИКАХ Около 90% моих работ покупают в Европе, а не в США. Думаю, это связано с тем, что в Европе развивались неопластицизм, Баухаус, конструктивизм. Люди до сих пор интересуются ими и, увидев мои работы, понимают: «Ага, этот парень спорит с Малевичем и Мондрианом. Он продолжает развивать эти важные идеи». В Америке этого нет. Мы переживаем трудные времена, поэтому мне приятно знать, что моя аудитория обитает в Европе. О ДИАЛОГЕ СО ЗРИТЕЛЕМ Когда я изучал искусство в 70х, мои преподаватели и сокурсники часто говорили: «Не стоит рассуждать о картине, достаточно ее чувствовать». Они думали о визуальном, как о специальной области, которую не нужно интерпретировать при помощи слов. Но когда я смотрю на полотна Тициана или Рембрандта, я получаю большее удовольствие, если понимаю, что на них изображено: что это за богиня или исторический персонаж. Я верю в отношения между визуальным искусством и дискуссией. Одна из моих задач как художника — быть частью диалога вокруг своего проекта. NINE EXPLOSIONS, MUSEUM OF CONTEMPORARY ART, TOKYO, 2003

INSTALLATION, PUBLIC LIBRARY, USERA, SPAIN, 2002

ADMIRERS Around 90% of my works are sold in Europe, not in the USA. It’s been like that for years. I think I know why. There are many people in Europe who consider NeoPlasticism, the Bauhaus, and Constructivism to be a very important chapter in modern cultural history. In the USA, that’s not the case. So, when Europeans talk about my work, they often say, “this guy is still responding to Malevich and Mondrian. He’s extending the conversation about these very important ideas.” DIALOGUE WITH THE VIEWER When I was studying art in the 1970s, my instructors and fellow students often said: “There’s no need to talk about art, it’s enough to feel it.” They thought of the visual as a special realm that couldn’t be addressed with words. But when I look at paintings by Titian or Rembrandt, I get more pleasure if I know what they are depicting: what goddess, or religious story, or historic figure. I am more interested if I know what other artists influenced them, or if I know the cultural context in which they were working. I believe that visual art should be discussed. One of my goals as an artist has been to be part of the discussion around my work and that of my contemporaries. THE SCHIRN RING, SCHIRN KUNSTHALLE, FRANKFURT, 2016

PETER HALLEY AND ALESSANDRO MENDINI, GALLERIA MASSIMO MININI, BRESCIA, 2008

peter halley Born in New York City, 1953 BA from Yale University and MFA from the University of New Orleans Lives and works in New York, USA

SOLO AND TWO-PERSON EXHIBITIONS 2018

Maruani Mercier Gallery, Brussels

Prints, Zane Bennett Contemporary Art, Santa Fe, NM

Lever House, New York

Mary Boone Gallery, New York

Galerie Xippas, Paris

Peter Halley. Patterns and Figures, Gouaches 1977/78, Galerie Thomas Modern,

2009 Maruani & Noirhomme Gallery, Brussels (catalogue)

Munich

Galerie Forsblom, Helsinki (catalogue)

Early Work: 1982 to 1987, Mary Boone Gallery, New York

2017

Greene Naftali Gallery, New York

New Paintings, Baldwin Gallery, Aspen, CO

Gary Tatintsian Gallery, Moscow (catalogue)

New Work, Waddington Galleries, London (catalogue)

Boats Crosses Trees Figures Gouaches 1977-78, Karma, New York (catalogue)

Cells and Conduits: Paintings 1987–2002, El Sourdog Hex, Berlin

2008

Recent Paintings, Galería Javier López, Madrid

Peter Halley: Paintings from the 1980s, Stuart Shave Modern Art, London (catalogue)

Galleria Massimo Minini, Brescia, Italy (collaborative installation with 2016 Peter Halley: New Paintings – Associations, Proximities, Conversions, Grids,

Monotypes, Galerie Thaddaeus Ropac, Salzburg

Peter Halley & Tracy Thomason, Teen Party, Brooklyn

Works for Projects, Galleria In Arco, Turin (catalogue)

Saw: A Suite of Four New Paintings, Galerie Thomas Modern, Munich

Alessandro Mendini)

Galleria Mazzoli, Modena, Italy (curated by Richard Milazzo, catalogue)

Banca BSI Italia, Turin (booklet)

Metallic Paintings, Jablonka Maruani Mercier Gallery, Knokke, Belgium (catalogue)

2007 McClain Gallery, Houston (installation, catalogue)

The Schirn Ring, Kunsthale Schirn, Frankfurt (installation, catalogue)

Waddington Galleries, London (installation, catalogue)

Halley Meets Hortal, Galeria Senda, Barcelona (with Yago Hortal)

Stuart Shave Modern Art, London

Peter Halley / Warren McArthur / New Paintings / Aluminium Furniture, 2015 Geometry of the Absurd: Recent Paintings by Peter Halley,

Santa Barbara Museum of Art, Santa Barbara, CA (catalogue)

Rohrer Fine Art, Laguna Beach, CA

Diagonal Histories, Art+Text Budapest, Budapest (with Imre Bak)

Galerie Xippas, Geneva

Sommer Contemporary Art, Tel Aviv

A Rebours, Galerie Thaddaeus Ropac, Paris (collaborative installation with Matali Crasset)

2006 Galerie Forsblom, Helsinki (catalogue) Gary Tatintsian Gallery, Moscow (installation, catalogue)

2014 Art Plural Gallery, Singapore

Art & Public, Geneva

Drawings, Galería Javier López, Madrid

Prisons, Friedrich Schiller University, Jena, Germany (catalogue)

Baldwin Gallery, Aspen, CO

Since 2000, Museé d’art moderne, Saint Étienne Métropole, France (catalogue)

Imago Galleries, Palm Desert, CA

Galerie Thomas, Munich

Galerie Forsblom, Helsinki (catalogue) 2005 Peter Halley: Present and Past, Louisiana Art & Science Museum,

2013 Prints and Editions: 25 Years, Carl Solway Gallery Cincinnati, OH

Baton Rouge, LA (catalogue)

Peter Halley: New Works, Galleria Cardi, Milan

Galerie Xippas, Paris

Mary Boone Gallery, New York (collaborative installation with Alessandro Mendini,

Maruani & Noirhomme Gallery, Knokke, Belgium

catalogue)

CAIS Gallery, Seoul (installation, catalogue)

Recent Works, Klaus Steinmetz Contemporary Art, San José, Costa Rica

Paintings 1995–2005, Galerie Xippas, Athens (catalogue)

(catalogue)

Drawings, Galería Javier López, Madrid

Paintings 2012–2013, Waddington Custot Galleries, London (catalogue)

Galería dels Angels and Galería Senda, Barcelona

Patricia Low Contemporary, St. Moritz

Direction, Mottahedan Projects, Dubai

2012 Galeria Massimo Minini, Brescia, Italy

2004 Galeria Presença, Porto, Portugal

Galerie Thaddaeus Ropac, Salzburg

Mary Boone Gallery, New York Galerie Alain Noirhomme, Brussels

New Paintings, Maruani & Noirhomme Gallery, Brussels

8 Small Prisons and Other Works, Galeria Senda, Barcelona (booklet)

Conspiracy Theory, Galerie Thaddaeus Ropac, Paris

Prison, Disjecta, Portland, OR (installation) 2003

Galería Javier Lopez, Madrid

2011 New Paintings, Xippas Art Contemporain, Geneva

Galleria Cardi, Milan (catalogue)

Galerie Thomas Modern, Munich (catalogue)

Imago Galleries, Palm Desert, CA

2002

Mary Boone Gallery, New York (installation)

Galería Senda, Barcelona

Galería dels Angels, Barcelona

Drawings: Four Decades, Gering and Lopez Gallery, New York

2010

Works from the 80s, Galerie Andrea Caratsch, Zurich

Gold, Gary Tatintsian Gallery, Moscow (catalogue) Maruani & Noirhomme Gallery, Knokke, Belgium

MUSEUM HAUS ESTERS, KREFELDER KUNSTMUSEEN, 1989

MUSEUM FOLKWANG ESSEN, GERMANY, 1999

2001

Waddington Galleries, London (catalogue)

1993

Jablonka Galerie, Cologne

Numark Gallery, Washington, D.C.

Turner & Byrne, Dallas, TX

Kevin Bruk Gallery, Miami, FL

Peter Halley: New Project, Edition Schellmann, New York

2000 Galleria Massimo Minini, Brescia (installation)

The Broad Art Foundation, Santa Monica, CA

Works on Paper, Art & Public, Geneva

Galleria Gian Enzo Sperone, Rome (installation)

Baldwin Gallery, Aspen, CO

1992

Gagosian Gallery, New York

Galería Javier Lopez, Madrid (installation)

Galerie Thaddaeus Ropac, Paris

Paintings 1989–1992, Des Moines Art Center, Des Moines, IA (catalogue)

Michael Kohn Gallery, Santa Monica, CA

Drawings, Galería Senda, Barcelona

Waddington Galleries, London (installation, catalogue)

1991

Rhona Hoffman Gallery, Chicago

Recent Paintings, Alan Koppel Gallery, Chicago

Galerie Bruno Bischofberger, Zurich

Galería Javier López, Madrid

Drawings, Jason Rubell Gallery, Palm Beach, FL

Peter Halley Works: 1982 to 1991, CAPCMusée d’Art Contemporain de Bordeaux,

1999 CAIS Gallery, Seoul (installation, catalogue)

Grant-Selwyn Gallery, New York

The Butler Institute of Contemporary Art, Youngstown, OH

France (catalogue); travelled to FAE Musée d’Art Contemporain, Pully/Lausanne, 1998 Peter Halley, Painting of the 90s, Museum Folkwang, Essen (installation,

Switzerland, (catalogue); Museo Nacional Centro de Arte Reina Sofía, Madrid, (catalogue); Stedelijk Museum, Amsterdam

catalogue) Peter Halley: Small Paintings, Galerie Bruno Bischofberger, Zurich Peter Halley: New Paintings, Jablonka Galerie, Cologne

1990

Kodaliths, 303 Gallery, New York

Mario Diacono Gallery, Boston, MA (booklet)

Daniel Weinberg Gallery, Santa Monica, CA

Peter Halley: Painting as Sociogram 1981–1997, Kitakyushu Municipal Museum of

Jablonka Galerie, Cologne

Art, Kitakyushu, Japan (catalogue)

The Americans, Mario Diacono Gallery, Boston, MA (booklet)

Fiberglass Reliefs, Michael Kohn Gallery, Santa Monica, CA

1989

Sonnabend Gallery, New York

Peter Halley: Recent Paintings, Krefelder Kunstmuseen, Museum Haus Esters,

Exploding Cell, Soap Gallery, Kitakyushu, Japan (installation) Paintings and Drawings, Tomio Koyama Gallery, Tokyo

Módulo Gallery, Lisbon

Ace Gallery, Los Angeles Peter Halley, Recent Prints, Numark Gallery, Washington, DC

Krefeld, Germany (catalogue); travelled to Maison de la Culture et de la Communication de Saint-Etienne, France; Institute of Contemporary Art, London

1997 New Concepts in Printmaking I, Museum of Modern Art, New York (installation) The Peter Halley Project, University at Buffalo Art Gallery, Research Center in

(booklet)

Galleria Lia Rumma, Naples

Art & Culture, State University of New York, Buffalo, NY (installation, booklet) Peter Halley, Three New Small Paintings, Galerie Thaddaeus Ropac, Salzburg

1988

Rhona Hoffman Gallery, Chicago

Galleria Massimo Minini, Brescia (catalogue)

Galerie Bruno Bischofberger, Zurich

Galleria Gian Enzo Sperone, Rome

Jablonka Galerie, Cologne (catalogue)

1996

Paintings and Drawings, Baumgartner Galleries, Washington, DC

1987

Margo Leavin Gallery, Los Angeles

Prints, Edition Schellmann, Munich

Sonnabend Gallery, New York

Kohn Turner Gallery, Los Angeles (installation)

Contemporaneacomo 2, Como, Italy (catalogue)

1986

Galerie Daniel Templon, Paris (catalogue)

Galleria Gian Enzo Sperone, Rome

International with Monument, New York

Galería Javier López, Madrid (installation) 1985

International with Monument, New York

1995

Images, Masks, and Models, 11, rue Larrey at Sidney Janis Gallery, 1984

Beulah Land, New York

New York (booklet)

Mario Diacono Gallery, Boston, MA (booklet)

Galerie Bruno Bischofberger, Zurich

Wall Installation, TZ Art, New York (installation)

Exploding Cell, Edition Schellmann and Pace Prints, New York

Galerie Thaddaeus Ropac, Paris (installation)

1983 Peter Halley: Post-Classical Paintings and Drawings, P.S. 122, New York (installation) 1979 School of Art & Architecture, University of Southwestern Louisiana, Lafayette, LA

Drawings 1977–1978, Schmidt Contemporary Art, St. Louis Drawings 1991–1995, Frances Lehman Loeb Art Center, Vassar College,

1978

Contemporary Art Center, New Orleans, LA

Poughkeepsie, NY (catalogue); travelled to Greenberg Van Doren Gallery,

St. Louis; Rhona Hoffman Gallery, Chicago; Kohn Turner Gallery, Los Angeles

Paintings: 1980–1981, Turner, Byrne & Runyon, Dallas (catalogue)

Encounters 6, Dallas Museum of Art, Dallas (installation) 1994 Galerie Bruno Bischofberger, Zurich

Mono-reliefs, Grand Salon, New York (booklet)

The Broad Art Foundation, Santa Monica, CA

A Series of Rotating Installations: Peter Halley, Andrea Rosen Gallery, New York

PRISONS, FRIEDRICH SCHILLER UNIVERSITY JENA, GERMANY, 2014

FLORENCE GRISWOLD MUSEUM, OLD LYME, CT, 2015

selected GROUP EXHIBITIONS 2018

Chaos and Awe: Painting for the 21st Century, Frist Center, Nashville, TN

2011 Tel Aviv Museum of Art, Tel Aviv

Brand New: Art and Commodity in the 1980s, Hirschhorn Museum,

Washington, DC

Surreal versus Surrealism, Institut Valencià d’art Modern, Valencia

Peter, Paul, and Mary, Adrian Rosenfeld Gallery, San Francisco

ROYGBIV, Kate Werble Gallery, New York

2017

Art and Space, Guggenheim Bilbao, Bilbao (catalogue)

Situations/Post Fail, Fotomuseum Winterthur, Winterthur, Germany

2010

Re-Seeing the Contemporary: Selected from the Collection,

STEDELIJK BASE, Stedelijk Museum, Amsterdam

Dallas Museum of Art, Dallas

No Transport, Super Dakota, Brussels (curated by Ethan Greenbaum)

Color and Form, Los Angeles County Museum of Art, Los Angeles

Consider the World: Museum Collection, Museé d’art moderne, Saint Étienne

The 80s Revisited: The Bischofberger Collection, Kunsthalle Bielefeld,

Métropole, France

Oracle, The Broad Museum, Los Angeles

nonObjectives, Sheldon Museum of Art, Lincoln, NE

The Healing Power of Art, Elgiz Museum, Istanbul

The Indiscipline of Painting, Tate St. Ives Cornwall, UK (catalogue) Personal Structures, Palazzo Bembo, 54th Venice Biennale, Venice (installation, catalogue)

Bielefeld, Germany (catalogue)

Time-Space-Existence, Künstlerhaus Palais Thurn, Bregenz, Austria

2009

Beg Borrow and Steal, Rubell Family Collection, Miami

Constellations: Painting from the Collection, 2016

GVA <---> JFK, Musée d’art moderne et contemporain (MAMCO), Geneva

The Adventure of our Collection: Art after 1945 from the Kunstmuseen Krefeld,

Synthetics, Whitney Museum of American Art, New York

Kaiser Wilhelm Museum, Krefeld (catalogue)

Structures–Space, New Museum of Contemporary Art, New York

Art Basel Unlimited, Basel

I Prefer Life, Weserburg Museum, Bremen, Germany

2008

Painting: Now and Forever, Part II, Matthew Marks Gallery, New York

Ron Gorchov, Peter Halley, Joseph Marioni, Olivier Mosset, and Joshua Smith,

Out of Storage I: Chosen Paintings from the Collection, Mudam Luxembourg

Albert Baronian Gallery, Brussels

The Big Bang, Museo Carlo Bilotti, Rome (catalogue)

Passages in Modern Art: 1946–1996, Dallas Museum of Art, TX

Museum of Contemporary Art, Chicago

Collecting Collections, The Museum of Contemporary Art, Los Angeles

The Promise of Total Automation, Kunsthalle Wien, Vienna 2007 RESET: Works from the Marx Collection, Hamburger Bahnhof Museum für 2015 Geometric Obsession: American School 1965–2015, Museo de Arte

Gegenwart, Berlin The Shapes of Space, Solomon R. Guggenheim Museum, New York (catalogue)

Contemporáneo Buenos Aires, Buenos Aires (catalogue)

One More Time, L’Exposition de nos Expositions, Musée d’art moderne et

War and Discontent, Museum of Fine Arts, Boston, MA

contemporain (MAMCO), Geneva

27th Biennial of Graphic Arts, International Centre of Graphic Arts (MGLC),

The Inaugural Installation, The Broad Museum, Los Angeles

Ljubljana, Slovenia

Industrial Imaginary, The Maramotti Collection, Reggio Emilia, Italy

Not For Sale, MoMA P.S.1, Long Island City, New York

Three Narratives: Language, CaixaForum, Fundació “la Caixa,” Barcelona (catalogue)

2006

America is Hard to See, Whitney Museum of American Art, New York

DaimlerChrysler Contemporary, Potsdamer Platz, Berlin

2014

Figures in the Field: Figurative Sculpture and Abstract Painting from Chicago Collections, Museum of Contemporary Art, Chicago

dis order – Pattern and Structure in the Collection, Museum Folkwang, Essen

Wall Works II, Hamburger Bahnhof Museum für Gegenwart, Berlin

Minimalism and After IV: New Acquisitions from the DaimlerChrysler Collection,

The Downtown Show: The New York Art Scene 1974–1984, Grey Art Gallery,

From Rauschenberg to Jeff Koons. The Ileana Sonnabend Collection,

New York (catalogue).

Ca’Pesaro International Gallery of Modern Art, Venice

The Modern Art Museum of Fort Worth, Fort Worth, TX

30 Years, Foundation Cartier pour l’art contemporain, Paris (collaboration with Alessandro Mendini)

2005 Flashback: Revisiting the Art of the 80s, Kunstmuseum, Basel (catalogue)

Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, NY (catalogue)

The Shape of Color: Excursions in Color Field Art 1950–2005, Art Gallery of Ontario, Toronto (catalogue)

2013 NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York

Picturing America: Selections from the Whitney Museum of American Art, New York

Yale University Art Gallery, New Haven, CT

Wall Works, Hamburger Bahnhof Museum für Gegenwart, Berlin

When Now is Minimal: The Unknown Side of the Goetz Collection,

Logical Conclusions: 40 Years of Rule- Based Art, Pace Wildenstein,

Neues Museum, Nuremberg (catalogue)

New York (catalogue)

Nagasaki Prefectural Museum, Nagasaki, Japan (catalogue)

Less Like an Object, More Like the Weather, Hessel Museum of Art, Hessel, Germany 2012

2004 Tear Down This Wall: Paintings from the 80s, Museum of Contemporary Art,

Pasión II, Centro de Arte Contemporáneo, Málaga 1980-Now, The Museum of Modern Art, New York

Los Angeles

East Village USA, New Museum, New York (catalogue)

Visions of America: Contemporary Art from the Essl Collection and the Sonnabend Collection, New York, Sammlung Essl – Kunst der Gegenwart, Vienna

The Geometric Unconscious: A Century of Abstraction, Sheldon Museum of Art,

(installation, catalogue)

University of Nebraska, Lincoln, NE Contemporary Paintings: 1960 to the Present, San Francisco Museum of Modern Art, San Francisco This Will Have Been: Art, Love & Politics in the 1980s, Museum of Contemporary Art, Chicago

Monument to Now: The Dakis Joannou Collection, Deste Foundation of Contemporary Art, Athens (catalogue) Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Solomon R. Guggenheim Museum, New York (catalogue)

2003

The Past of the Present: Selections from the ABN AMRO Collection, Shanghai Art Museum, Shanghai

Pittura/Painting: from Rauschenberg to Murakami, 1964–2003,

School of Fine Arts, Athens (catalogue)

Multiple Identities: Works from the Whitney Museum of American Art,

New York Museu d’Art Contemporani, Barcelona (catalogue)

50th Venice Biennale, Venice (catalogue)

2002

We Love Painting! Contemporary American Art from The Misumi Corporation

Collection, Museum of Contemporary Art, Tokyo (catalogue)

Peter Halley and Ettore Sottsass, Jay Gorney Modern Art, New York

The Onnasch Collection, Museu d’Art Contemporani de Barcelona,

Exhibition in Honor of the 30th Anniversary of the Israel Museum,

Barcelona (catalogue)

No Object, No Subject, No Matter..., Irish Museum of Modern Art, Dublin

1995 Morceaux Choisis du Fonds National d’Art Contemporain,

New York Renaissance: Masterworks from the Whitney Museum of American Art, Palazzo Reale, Milan (catalogue) Permanent 02 – Masterworks of the Essl Collection, Kunst der Gegenwart

Centre National d’Art Contemporain, Grenoble, France

Marian Goodman Gallery, New York Altered States, Forum for Contemporary Art, St. Louis, Missouri

(curated by Robert Nickas)

It’s Only Rock and Roll, Phoenix Art Museum, Phoenix, AZ

Degrees of Abstraction: From Morris Louis to Mapplethorpe, Museum of Fine Arts, Boston

Essl Museum, Klosterneuburg, Austria

New York Abstract, Contemporary Arts Center, New Orleans, LA (catalogue)

Compensation, Gabinetto Disegni e Stampe Degli Uffizi, Florence, Italy

2001 Digital Printmaking Now, Brooklyn Museum of Art, Brooklyn (catalogue)

Critiques of Pure Abstraction, Sarah Campbell Blaffer Gallery, University of

Playing Amongst the Ruins, Royal College of Art Galleries, London (catalogue)

Houston, TX (catalogue)

Reinventing the Emblem, Yale University Art Gallery, New Haven, CT (catalogue)

1994

Cross and Square Grids, Museum of Modern Art, Saitama, Japan

Public Affairs, Kunsthaus Zürich, Zürich (catalogue)

Mythic Proportions, Paintings from the 1980s, Museum of Contemporary Art,

Miami (catalogue)

2000 Around 1984: A Look at Art in the Eighties, MoMA P.S.1, Long Island City,

Abstraction: A Tradition of Collecting in Miami, Center for the Fine Arts, Miami (catalogue)

New York (catalogue)

Fundacion la Caixa, Málaga

Elvis + Marilyn: 2 x Immortal, Institute of Contemporary Art, Boston (catalogue)

From Albers to Paik: Works of the Daimler- Chrysler Collection, Kunst Zürich,

Rudiments d’un Musée Possible, Musée d’art contemporain, Geneva

Zürich (catalogue)

30 Years: Art in the Present Tense, Aldrich Museum of Contemporary Art,

Age of Influence: Reflections in the Mirror of American Culture,

Ridgefield, CT (catalogue)

Museum of Contemporary Art, Chicago

The Assertive Image: Artists of the Eighties, Armand Hammer Museum and

University of California, Los Angeles

Fondation Cartier pour l’art contemporain collection, Centro di Arte Contemporanea, Paris

1993 Yale Collects Yale, Yale University Art Gallery, New Haven, CT

1999

The American Century, Whitney Museum of American Art, New York

The Tradition of Geometric Abstraction in American Art 1930–1990,

Panza: The Legacy of a Collector, The Geffen Contemporary at MOCA, Los Angeles

Whitney Museum of American Art, New York

Examining Pictures: Exhibition of 56 Artists Links Generations of Painters,

Legend In My Living Room, Rhona Hoffman Gallery, New York

Museum of Contemporary Art Chicago, IL

I Love You More than My Own Death, Venice Biennale, Venice

The Broad Spectrum: Color on Paper, Past and Present, The Art Institute of

Italia-America, L’Astrazione Ridefinita, Galleria Nazionale d’Arte Moderna, San Marino (catalogue)

Chicago, Chicago Geometry as Design: Structures of Modern Art from Albers to Paik, Sammlung Daimler Chrysler Collection, Stuttgart.

New York Painters, Sammlung Goetz, Munich

Living With Art: The Collection of Ellyn & Saul Dennison, The Morris Museum, Morris, NJ

1998

Cleveland Collects, The Cleveland Museum of Art, Cleveland, OH

After the Fall: Aspects of Abstract Painting Since 1970, Newhouse Center for

1992

Who’s Afraid of Duchamp, Minimalism, and Passport Photography?,

Contemporary Art, Staten Island, NY

Annina Nosei Gallery, New York (curated by Collins & Milazzo, catalogue)

Arterias, Malmö Konsthall, Malmö, Sweden

1968, Le Consortium, Dijon, France

Psycho: Inaugural Exhibition, KunstHall, New York (catalogue)

1997 Pop Abstraction, Pennsylvania Academy of Art, Philadelphia

Landscape Untitled: Peter Halley, Albert Oehlen, Christopher Wool, Galeria

Ace Gallery, Los Angeles

Senda, Barcelona (booklet)

Groei in de Collectie Peter Stuyvesant, Peter Stuyvesant Foundation, Amsterdam

Un Bel Ete, Casino Luxembourg, Forum d’Art Contemporain, Luxemburg 1996

Innovation: American Art Today from the Misumi Art Collection, Kawamura

Memorial Museum of Art, Sakura, Japan (catalogue)

Tokyo International Forum Art Collection, Tokyo (catalogue)

Sammlung Marx, Hamburger Bahnhof, Museum für Gegenwart, Berlin

Thinking Print: Books to Billboards,1980-1995, Museum of Modern Art, New York

Art at the End of the 20th Century: Selections from the Whitney Museum of American Art, New York

Slow Art, P.S.1 Contemporary Art Center, Long Island City, NY

The City Influence: Ross Bleckner, Peter Halley, Jonathan Lasker, The Eighties in the Collection of la Caixa Foundation, EXPO 92, Seville 1991

American Art of the 80’s, Museo d’Arte Moderna e Contemporanea, Trento

Who Framed Modern Art or the Quantitative Life of Roger Rabbit,

Sidney Janis Gallery, New York (curated by Collins & Milazzo, catalogue)

Contemporary Art from The Collection of Jason Rubell, Duke University Art

Wunschmaschine Welterfindung: A History of Technical Visions,

Re: Framing Cartoons, Wexner Center for the Arts, Ohio State University, Dayton, OH

Museum, Durham, NC (catalogue)

Kunsthalle Wien, Vienna

Biennial, Whitney Museum of American Art, New York (catalogue)

Addison Gallery of American Art: 65 Years, Addison Gallery of American Art,

Andover, MA

American Abstraction at the Addison, Addison Gallery of American Art, Andover, MA (catalogue)

New Abstraction, Museo Nacional Centro de Arte Reina Sofía, Madrid (catalogue)

Metropolis: International Art Exhibition Berlin 1991, Martin-Gropius-Bau,

Everything That’s Interesting Is New: The Dakis Joannou Collection,

Berlin (catalogue)

Milazzo, brochure)

Galerie Bruno Bischofberger, Zurich Objects for the Ideal Home: The Legacy of Pop Art, Serpentine Gallery, London

Primary Structures, Rhona Hoffman Gallery, Chicago, IL (curated by

(catalogue)

Robert Nickas)

Avant-Garde in the Eighties, Los Angeles County Museum of Art, Los Angeles

Post-Abstract Abstraction, The Aldrich Museum of Contemporary Art,

Power: Its Myths and Mores in American Art, 1961–1991, Indianapolis Museum of Art, Indianapolis, IN (catalogue) Stages of Light: Barnett Newman, Andy Warhol, Peter Halley,

Ridgefield, CT (curated by Eugene Schwartz, catalogue)

NY Art Now: The Saatchi Collection, Saatchi Gallery, London (catalogue)

Generations of Geometry, Whitney Museum of American Art

Duke University Museum of Art, Durham, NC

at The Equitable Center, New York

Conceptual Abstraction, Sidney Janis Gallery, New York (catalogue)

Similia/Dissimilia, Columbia University Art Gallery, New York (curated by Rainer

In anderen Raumen, Krefelder Kunstmuseen, Museum Haus Lange and Haus

Galerie Jablonka, Cologne Art of the 1980s: Selections from the Collection of the Broad Art Foundation,

Esters, Krefeld, Germany (catalogue)

Crone, catalogue)

The Castle, documenta 8, Kassel, Germany (curated by Group Material)

Recent Tendencies in Black and White, Sidney Janis Gallery, New York

1990

Red, Galerie Isy Brachot, Brussels (curated by Robert Nickas, catalogue)

Un Art de la Distinction?, Abbaye Saint-André, Centre d’Art Contemporain,

Meymac, France (catalogue)

Word as Image: American Art 1960–1990, Milwaukee Art Museum,

Reinhard Onnasch Galerie, Berlin (catalogue)

Milwaukee, WI (catalogue)

Movement of the Earth, Grand Palais, Paris (catalogue)

New York Now, The Israel Museum, Jerusalem (catalogue)

1986

Spiritual America, CEPA Galleries, Buffalo, NY (curated by Collins & Milazzo,

Modern Detour: R.M. Fischer, Peter Halley, Laurie Simmons, Wiener Secession,

(catalogue)

Currents 12: Simulations, New American Conceptualism, Milwaukee Art Museum, WI (catalogue)

Vienna (catalogue) The Last Decade: American Artists of the 80s, Tony Shafrazi Gallery, New York

catalogue)

(curated by Collins & Milazzo, catalogue)

Weitersehen 1980-1990, Krefelder Kunstmuseen, Museum Haus Esters, Krefeld

Mel Bochner, Peter Halley, Robert Rauschenberg, Sonnabend Gallery, New York

New New York, Cleveland Center for Contemporary Art, Cleveland, OH

Signs of Painting, Metro Pictures, New York, and Donald Young Gallery, Chicago

Classical Modernism: Six Generations, Sidney Janis Gallery, New York

Painting and Sculpture Today: 1986, Indianapolis Museum of Art, Indianapolis, IN

Peter Halley, Jeff Koons, Meyer Vaisman, Galerie Carola Moesh, Berlin

Political Geometries: on the Meaning of Alienation, Hunter College Art Gallery,

1989

Horn of Plenty, Stedelijk Museum, Amsterdam (catalogue)

Abstract Tableaux, Villa Arson, Nice (catalogue)

Europe/America, Ludwig Museum, Cologne (catalogue)

End Game: Reference and Simulation in Recent Painting and Sculpture,

New York (curated by Maurice Berger, catalogue) Abstraction in Question, John and Mable Ringling Museum of Art, Sarasota, FL (catalogue) Science-Technology-Abstraction: Art at the End of the Decade, University Art Galleries, Wright State University, Dayton, OH (catalogue)

Institute of Contemporary Art, Boston, MA (catalogue)

Prospect 89, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt (catalogue)

Ten + Ten: Contemporary Soviet and American Painters, Fort Worth Museum of Art, Fort Worth, TX (catalogue)

Ashley Bickerton, Peter Halley, Jeff Koons, Meyer Vaisman, Sonnabend Gallery, New York

Art and Its Double, Fundaciòn Caja de Pensiones, Madrid

Rooted Rhetoric, Castel Dell’Ovo, Naples Paravision, Postmasters Gallery, New York (curated by Collins & Milazzo)

The Silent Baroque, Galerie Thaddaeus Ropac, Salzburg (catalogue) Psychological Abstraction, Deste Foundation, Athens (catalogue)

1985

Wittgenstein, The Play of the Unsayable, Wiener Secession, Vienna

Post-Style, Wolff Gallery, New York

Abstraction-Geometry-Painting, Albright- Knox Art Gallery, Buffalo, NY

Sarah Charlesworth, General Idea, Peter Halley, Jeff Koons, Peter Nagy,

(catalogue)

Richard Prince and Laurie Simmons, International with Monument, New York

Gober, Halley, Kessler, Wool: Four Artists from New York, Kunstverein, Munich

Jay Gorney Modern Art, New York

(catalogue)

A Brave New World, A New Generation, Udstillingsbygning, Charlottenborg,

Projects and Portfolios: The 26th National Print Exhibition, Brooklyn Museum,

Copenhagen

New York (catalogue) 1984

Brilliant Color, Baskerville & Watson, New York

1988

Cultural Geometry, Deste Foundation, Athens, Greece (catalogue)

The New Capital, White Columns, New York (curated by Collins & Milazzo)

Collection Sonnabend, Museo Nacional Centro de Arte Reina Sofía, Madrid.

Re-Place-ment, Hallwalls, Buffalo, NY

(catalogue)

Selections, Artists Space, New York

Art at the End of the Social, The Rooseum, Malmö, Sweden (curated by Collins & Milazzo, catalogue)

1983

Christminster Fine Art, New York (curated by Richard Artschwager)

Australian Biennale, Art Gallery of New South Wales, Sydney (catalogue)

Tradition, Transition, New Vision, The Addison Gallery of American Art,

BiNATIONAL: American Art of the Late 80s, Museum of Fine Arts and Institute

Andover, MA (catalogue)

of Contemporary Art, Boston, MA (catalogue) Hybrid Neutral, Modes of Abstraction and the Social, I.C.I. Exhibition: University

1982 The Drawing Center, New York

Art Gallery, The University of North Texas, Denton, TX

Dangerous Works, Parsons School of Design, New York

1981

P.S. 122, Long Island City, New York

Three Decades: The Oliver Hoffman Collection, The Museum of Contemporary Art,

1980

Louisiana Major Works 1980, Contemporary Arts Center, New Orleans

Chicago (catalogue)

Carnegie International, Carnegie Museum of Art, Pittsburgh (catalogue)

Viewpoints: Postwar Painting and Sculpture from the Guggenheim Museum Collection and Major Loans, Solomon R. Guggenheim Museum, New York

1979 American Academy and Institute of Arts and Letters, New York 1987

1987 Biennial, Whitney Museum of American Art, New York (catalogue)

E xtreme Order, Lia Rumma Gallery, Naples (curated by Collins &

1978 Newspace Gallery, New Orleans, LA (catalogue)

INSTALLATION, THE GALLATIN SCHOOL, NEW YORK UNIVERSITY, 2008

selected public collections Addison Gallery of American Art, Andover, MA Albright-Knox Art Gallery, Buffalo The Art Institute of Chicago Banco Suisso d’Italia / BSI Art Collection Museum of Fine Arts Boston Broad Art Foundation, Los Angeles CAC Centro de Arte Contemporáneo, Malága CAPC Musée d’Art Contemporain, Bordeaux Carnegie Museum of Art, Pittsburgh Castello di Rivoli Museo d’Arte Contemporanea, Torino Chrysler Museum of Art, Norfolk, VA Dallas Museum of Art Dallas Fort Worth International Airport The Dayton Art Institute Museum of Contemporary Art at Wright State University, Dayton, OH Des Moines Art Museum Deste Foundation for Contemporary Art, Athens Fondation Cartier pour l’Art Contemporain, Paris Fonds National d’Art Contemporain, France Fundación Caja de Pensiones, Spain High Museum of Art, Atlanta Irish Museum of Modern Art, Dublin Kitakyushu Municipal Museum of Art, Japan Los Angeles County Museum of Art Milwaukee Art Museum The Mint Museum, Charlotte, NC Musée d’Art Moderne Grand-Duc Jean, Luxembourg Museo d’Arte Contemporanea Donna Regina, Naples Museo de Arte y Deseño Contemporáneo, San José, Costa Rica Museum Folkwang, Essen, Germany Museum Moderner Kunst, Vienna Museum of Contemporary Art, Chicago Museum of Contemporary Art, Los Angeles Museum of Contemporary Art, Tokyo Museum of Fine Arts, Budapest The Museum of Modern Art, New York New York University Proje4L/Elgiz Museum of Contemporary Art, Istanbul Sammlung Daimler Art, Stuttgart Sammlung Goetz, Munich Sammlung Marx, Berlin San Francisco Museum of Modern Art Santa Barbara Museum of Art The Seattle Art Museum Seoul Museum of Art Sheldon Museum of Art, University of Nebraska Solomon R. Guggenheim Museum, New York Städel Museum, Frankfurt Stedelijk Museum, Amsterdam Tate Modern, London Tel Aviv Museum of Art Tokyo International Forum Art Collection Weisman Art Museum, The University of Minnesota, Minneapolis Yale University Art Gallery, New Haven, CT Zayed National Museum, Abu Dhabi

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