Contributed by Sharon Butler / In his first solo show at Greene Naftali, Peter Halley contends with the new American reality of an increasingly shameless and authoritarian state under which, despite the best efforts of an overstretched free press and an embattled political opposition, the difference between fact and fiction has become increasingly obscured. Halley has outfitted the cavernous gallery with metallic floor-to-ceiling digital prints, tweaked lighting, a handful of his signature paintings, and intermittent sound emissions to create a disturbing sense of unease and “topsy-turvy disorientation. In the back room, as a mordant coda, Halley has included one of Robert Morris’s 1978 sculptures made of classical architectural fragments and a distorting fun house mirror.