Untitled (White) (Littmann P. 72) by Keith Haring crowds figures, symbols and abstract marks into a single dense black-and-white field until individual elements start to dissolve into one another.

This is Haring working against his own instinct for clarity. Made in 1987, it sits closer to Bad Boys, The Story of Red and Blue and Apocalypse than to the clean, single-glyph legibility of his more recognisable prints — line used not to isolate a figure but to bury it in texture, repetition and overlap. The effect is less a picture to be read at a glance than one to be searched, which makes it an outlier worth knowing about precisely because it breaks the rule the rest of his practice was built on.

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