For over thirty years, Peter Halley’s paintings, with their characteristic day-glo color and distinctive faux-stucco surfaces, have engaged in variations on the same closed set of geometric forms, designated by the artist as prisons, cells, and conduits — “icons that reflect the increasing geometricization of social space in the world in which we live.” Treating space as a manifestation of social control—an idea inspired by the artist’s interest in Michel Foucault’s notion of a carceral society—Halley’s paintings provide metaphors for the constantly proliferating communication and organizational networks that have come to dominate our world. Over a career of three decades, the artist has deployed his trademark iconic forms with ever increasing intensity, resulting in works with ever more dazzling combinations of color, shape, and texture, assuring their continuing relevance in the post-millennial information age.