Untitled 6 (Littmann PP. 18-21) by Keith Haring sets a sprawling figure against a large cross, arms thrown wide to echo the shape behind it, while barking dogs run along the lower edge of the sheet.

Haring drew the cross the same way he drew everything else in this period: as a line, not a doctrine. It appears here stripped of specific religious narrative, functioning instead as one more sign in the same visual system as the dog, the radiant figure and the crawling baby — pulled from the walls and platforms of the subway system he'd been drawing on since the start of the decade, where a symbol had to read instantly or not at all. The radiating marks around the body do the same job they do throughout his work of this era: turning a static outline into something that reads as alive.

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