Three Lithographs 2 (Red Tongue) (Littmann P. 40) by Keith Haring presents a dynamic confrontation between two grotesque heads rendered in his signature and recognisable style.

The work captures a moment of primal encounter, with gaping mouths revealing rows of sharp teeth and a vivid red tongue that cuts across the image like a banner of aggression or desire.

Haring's deployment of red in Three Lithographs 2 (Red Tongue) marks a departure from his predominantly monochromatic subway drawings, introducing colour as both formal element and symbolic charge. The crimson tongue becomes the work's focal point, its organic curve contrasting with the more geometric patterns that characterise the surrounding forms. This selective use of colour anticipates the artist's later exploration of chromatic intensity whilst maintaining the graphic clarity that made his imagery so direct.

Created in 1985, the work was made as Haring was gaining international recognition beyond New York's downtown scene. The lithograph's format allowed for wider distribution of his imagery, democratising access to his art in ways that aligned with his populist philosophy. The grotesque heads, with their mixture of ancient and contemporary references, reflect his ability to bring together influences ranging from Aboriginal art to contemporary graffiti creating art that spoke across cultural boundaries. The work's central drama—two beings connected through the act of oral exchange—resonates with themes that would become increasingly urgent in Haring's practice as the AIDS crisis deepened.

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