Fertility 2 (Littmann P. 32) by Keith Haring places a speckled pyramid at the centre of the sheet, flanked by two flying saucers, with a pregnant figure below thrown into astonishment by the scene above her.

The pairing is deliberately anachronistic: an ancient monument and a piece of science-fiction imagery occupying the same frame, both treated as equally valid symbols within Haring's visual system rather than as opposites. It's a move he returns to often — reaching into deep history and pop culture in the same gesture, refusing to rank one above the other. Made in 1983, before his own diagnosis but well into his work with HIV/AIDS activist groups, the print sits at the start of a decade in which fertility, threat and survival would return again and again in his imagery, first as broad social concern and later as something closer to home.

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