Lucky Strike 2 (Littmann P. 77) by Keith Haring centres on a single hand presenting a Lucky Strike cigarette packet, transforming a familiar consumer product into the focal point of the work. Suspended against a vivid blue ground, the packet occupies a position traditionally reserved for a symbolic or revered object, drawing attention to the power of branding within contemporary culture.

Created in 1987, the work belongs to a period when Haring was increasingly interested in the circulation of images beyond traditional art spaces. Like his friend and mentor Andy Warhol, he recognised that corporate logos and commercial packaging had become some of the most widely recognised visual symbols of the twentieth century. Rather than separating popular culture from fine art, Haring embraced these references, incorporating them into his work with the same confidence he applied to his dancing figures, radiant babies and barking dogs.

Bending and wavy cigarettes rise from the branded packet creating a sense of movement as they appear to writhe and wriggle out of the box. The simplified style allows the Lucky Strike logo to remain immediately identifiable while emphasising the ways in which advertising imagery becomes embedded in everyday experience. Through bold colour, scale and placement, Haring elevates an ordinary commercial object into a subject worthy of attention in its own right.

The Lucky Strike series reflects Haring's broader interest in visibility, reproduction and mass communication. By centering on a globally recognised brand, he highlights the increasingly commercial landscape of the late twentieth century while continuing his exploration of images that could be understood instantly by a wide audience.

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