Neo-Geo, short for Neo-Geometric Conceptualism, emerged in New York during the 1980s. Associated with artists such as Peter Halley, Ashley Bickerton, Jeff Koons, Haim Steinbach and Meyer Vaisman, it revived the visual language of geometric abstraction while questioning consumer capitalism, technological systems and the growing commercialization of contemporary art.
Neo-Geo artists employed grids, repeated forms, synthetic colours, industrial materials and appropriated consumer objects. Yet their apparent formal precision was rarely neutral. Geometry became a metaphor for the structures regulating modern existence: corporate networks, urban architecture, communication technologies and increasingly standardized ways of living. Influenced by Minimalism, Pop Art, Conceptual Art and theories of simulation, these artists blurred the boundary between criticism of consumer culture and participation in its markets.
This tag gathers articles, artist profiles, exhibition reviews and critical perspectives on Neo-Geo art, its leading figures and its contested legacy. It also examines how the movement anticipated contemporary debates about branding, digital networks, commodification and the relationship between artistic critique and commercial success.
Peter Halley, Six Prisons (2009) — cell & conduit series, geometric abstraction Peter Halley turned the vocabulary of geometric abstraction into a diagram of contemporary power. Since the early 1980s, his fluorescent
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