Peter Halley, a key figure of American Neo-conceptualism of the 1980s, is known for his geometric painting that alludes to the social spaces of late capitalism and their dimension of confinement, isolation and confinement. The shapes of the "cell" and the "duct", adopted in the eighties and still at the base of his work, refer to the rigid and angular structures of office skyscrapers, but also to computer microchips, electrical circuits, "rooms" virtual and the infinite connections of the web. His vision of the contemporary world, influenced by thinkers such as Foucault and Baudrillard, is steeped in pessimism, but is expressed in an electrifying, vitalistic language, full of overwhelming energy.

Starting in the 1990s, Halley began to add to the canvases a series of interventions on the architectural space made by means of wallpaper and digital prints and sometimes developed in collaboration with other artists. The project created for the Nivola Museum also focuses on this aspect of his work, where Halley will completely transform the interior of the building that houses the temporary exhibitions. The work is in full harmony with the orientation of the museum: dedicated to Costantino Nivola, one of the protagonists of the movement for the "synthesis of the arts" of the mid-twentieth century, the Nivola Museum looks with particular attention to the relationships between art, architecture and design , as evidenced by the exhibitions dedicated in the past to the encroachments in art by masters of Italian design such as Andrea Branzi, Michele de Lucchi and Alessandro Mendini, the latter former collaborator of Halley in a memorable series of installations.