Appearing to be within the tradition of geometric painting, Peter Halley’s canvases are notionally schematic, representing pared down conduits and units that structure the built environment, as well as the social and political world. Day One is among the most ambiguous of these, suggesting only a ground and conduit running beneath. Through these simple elements and the exploration of industrial paints—in this case florescent pigments—Halley connects with some irony to the history of modernism, its effects and its blind spots.