Peer began sculpting upon his return to Israel from Italy in 1990. The wanderings and conceptual search for sculpture yielded various works that focused mainly on symbolic objects and metaphors around pits and sewers. The cover is a closure and an opener in the courtyards and roads as part of a municipal infrastructure network. The aesthetics of the lid is expressed not only in the design, but also in that the quota is a detail of human-cultural activity.

Meir Aronson, the director of the Ramat Gan Museum, described it:

"The manhole covers on the sidewalks of the city are parts of an interior aesthetics that are placed against the backdrop of the city's gray sidewalks, which are a kind of eye fillers in the street, with history, an opening and a closure to places we are apparently not allowed to reach. Even a fossil that can be significant, a kind of secondary use of a secondary technique that serves as a primary goal and is a new artistic creation, an  old statement of one is an audience and two of them A lot is a form of fear, a grouping of identity forms in  different combinations allows To create new topographies and landscapes, stubbornness and  subtlety of  obsession, endless repetition of one element creates a situation that is almost impossible in the reality in which we live, only art allows such a creation."

Peer's process of work passes through several stations, including: Protease (from French – scratching, scrabble), a work in which the presence of the authentic aspect can be found without presenting Readymade  himself; "The Living Room in the Forest" - a metaphor for public discourse awareness, a work that includes a collection of authentic objects and stuff wrapped in plaster bandages (exhibited in a single exhibition at the Ramat Gan Museum); And a series of works called " Opening" inspired by the space that takes place in the symbolic lid structure and is characterized by multiple squares in the perspective of infinite space in which life takes place.