Untitled 5 (Littmann pp. 18–21) by Keith Haring presents two large barking dog figures woven into a dense network of interlocking lines and symbols. Occupying almost the entire work, the dogs face one another across the sheet, their bodies stretched, fragmented and absorbed into a complex arrangement of curves, zigzags and dotted passages.

The barking dog is among Haring's most recognisable and enduring motifs. Appearing throughout his paintings, drawings and prints, the figure has been interpreted as a symbol of authority, communication, warning and public expression. In Untitled 5, however, the dogs are not presented as isolated symbols. Their limbs, heads and tails merge seamlessly with neighbouring forms, creating a continuous visual flow that guides the eye across the surface.

The stark black-and-white palette places emphasis on line and movement. Thick contours define the dogs while white channels carve pathways through the work, creating a dynamic relationship between positive and negative space. Repeated marks and rhythmic patterns generate a sense of energy that recalls the immediacy of Haring's subway drawings, while the carefully balanced arrangement demonstrates a growing sophistication in his approach.

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