Untitled 2 (Littmann pp. 18–21) by Keith Haring centres on a human figure positioned beneath a large cross and framed by two barking dogs that confront one another across the work. Executed in black-and-white, the image combines several of the artist's most recognisable symbols within a highly structured and symmetrical arrangement. Rather than unfolding as a narrative scene, the work operates through the interaction of these recurring motifs, each carrying multiple associations within Haring's wider practice.

The central figure appears energised by the marks that surround both the body and the cross above. Throughout Haring's work, such lines function as indicators of movement, vitality and spiritual force. The cross introduces a clear religious reference, yet Haring avoids conventional depictions of biblical events. Instead, he reduces the symbol to its essential form and places it within a broader network of signs drawn from popular culture, religion and contemporary life.

On either side of the work stand two barking dogs, among the most frequently recurring figures in Haring's art. Often interpreted as symbols of authority, communication, warning or social control, the dogs direct attention toward the central figure while creating a sense of tension and balance. Their dotted interiors contrast with the surrounding fields of black line, introducing texture and visual rhythm to the piece. The symmetry of the arrangement gives the image an almost heraldic quality, reinforcing its iconic presence.

Created in 1982, the lithograph belongs to a formative period in Haring's career when imagery first developed in the New York subway system began to migrate into editioned prints and gallery exhibitions.

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