Untitled (Black) by Keith Haring (Littmann P. 73) continues this more experimental direction within Haring’s output, presenting an inverted counterpart to Untitled (White).

Created in 1987, the print reverses the tonal structure, with white line and form set against a dense black background, intensifying the compressed and highly worked surface. The work is built from a network of figures, symbols, and abstract elements that overlap and merge across the field. Familiar motifs appear in fragments—partially visible, embedded within a broader system—while finer linework and repeated marks generate a layered, almost tactile density.

The inversion heightens contrast, pushing the image toward a more immediate visual impact while retaining its complexity. This shift alters the reading of the work. Where the white version allows for moments of separation, here the black dominates, holding the forms together within a continuous surface.

This approach aligns the work with other experimental series from the period, including Bad Boys, The Story of Red and Blue, and Apocalypse, where his becomes denser and less immediate. Untitled (Black) extends this investigation, demonstrating how Haring could rework his established style through inversion, density, and repetition. The print maintains recognisable elements while pushing them into a more complex, continuous field, revealing a side of his practice that is more concentrated, process-driven, and formally exploratory.

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