Untitled (Yellow), (Littmann P. 51) by Keith Haring centres on a mandala-like structure built from concentric bands that flow across the work in tight configurations reminiscent of Indian and Eastern art.

The print is dominated by a warm yellow field, within which figures, symbols, and repeating motifs form a tightly organised, circle form. At the centre, a defined roundel anchors the image, from which two figures on each side merge into the central disc. The arrangement creates a continuous rhythm across the surface, with each line folding into the next. The yellow background establishes a luminous, unified tone, while red accents punctuate selected elements, drawing attention to specific passages within the dense network.

Softer areas of aquatint sit against sharper incised lines, allowing certain forms to recede while others advance, creating depth within an otherwise flat structure. This balance between precision and fluidity reflects Haring’s evolution and increasing intricacy during the mid-1980s.

Haring’s Untitled (Yellow) places this approach within a broader shift in his work towards more expansive and universal themes. The print maintains the clarity and accessibility of his graphic approach while introducing a more concentrated and ordered visual field, demonstrating how his motifs could be reconfigured into a cohesive, self-contained system abstracted the figures while keeping them very obviously Keith Haring.

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