In the series of works Supermarkets (1998), Peters comments upon the commercialisation of supermarkets as temples of consumption, bathed in primary colours. By removing the advertising language of the brand names on the façades, the artist reinforces their uniformity and their cool, lifeless model-like quality.
This deliberate contrasting of the delicate relationship between vivid commercial language and cold anonymous architecture casts the authenticity of the image into question.
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