Lucky Strike 4 (Littmann P. 78) by Keith Haring places the Lucky Strike box at the heart of the composition as Haring’s famed figures dance from the packet and around it. The work focuses on the extraordinary power of branding, presenting a familiar commercial image as the dominant force within the picture plane.

Throughout the 1980s, Haring was fascinated by the ways images circulated through contemporary society. His friendship with Andy Warhol exposed him to an artist who had already transformed everyday products into subjects for fine art, and Lucky Strike 4 continues that conversation. Here, the logo functions almost as a modern emblem, instantly recognised regardless of language, geography or context.

Lucky Strike 4 derives much of its strength from the contrast between the static packet and the surrounding figures. While the logo remains fixed and unchanged, the figures introduce movement and activity around it, reinforcing the idea that successful brands generate attention, loyalty and cultural presence. Haring's use of repetitive figures echoes the methods of advertising itself, where familiarity is created through constant exposure.

More than a depiction of a cigarette packet, Lucky Strike 4 examines how corporate identities become part of popular consciousness. The work reflects Haring's awareness that logos had become some of the defining images of modern life, occupying a position not unlike the cultural symbols and icons that artists had depicted for centuries.

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