A long time ago, Peter Wexler studied painting, photography and design at the University of Michigan’s School of Architecture Design, in preparation for an intense life as a scene, costume and lighting designer in theatre, opera, music, television and film. Moving away from continuing to work on collaborative art, he is concentrating, again, on painting, sculpture and photography.

He has designed Broadway musicals (The Happy Time, Minnie’s Boys), operas for The Metropolitan Opera (Les Troyens, Un Ballo in Maschera, Le Prophète), hundreds of concerts for The New York Philharmonic (The Rugs Concerts, The Promenades Concerts), The Boston Symphony ( Pops), L.A. Symphony (Hollywood Bowl) and the Dallas Symphony Orchestra.

He has designed scores of plays on and off Broadway and around the country (War and Peace), helped found regional theatres (the Mark Taper Forum in L.A. and the Pittsburgh Public Theatre, among them) and consulted on TV design from The Merv Griffen Show to ABC World News with Peter Jennings.

He has also produced large outdoor music festivals featuring artists ranging from the young Dixie Chicks and Willie Nelson to Van Cliburn and Mstislav Rostropovich; large museum exhibitions for The Smithsonian Institution and many others; and has consulted on the design of theatres and concert performance spaces.

He is currently represented by the Big Apple Circus tent graphics and a book and exhibition of his photography of Venice called Reflections.

He was an early (and remains a continuous) user of projected and moving image in theatre, music and exhibition.

His sketches, paintings, models and photographs are widely held in public and private collections, including those of The New York Public Library for the Performing Arts at Lincoln Center – Billy Rose Collection, the Tobin Collection at the McNay Art Museum and the Cooper-Hewitt National Design Museum of the Smithsonian Institution.

He has been married to Emmy Award winning costume designer Constance Ross since 1962.