Pop Shop I (B) (Littmann P. 82) by Keith Haring sets three figures against a burnt orange ground, purple dotted mounds running along the base of the sheet. A yellow figure is raised at the centre, both arms stretched overhead, flanked by two taller teal figures each with one arm thrown up in the same direction, all three gestures converging toward the top of the frame.

Where (A) reduces connection to two bodies locked together, (B) opens the same idea out into a group. The lift at the centre reads as support rather than isolation — one figure held aloft by the two either side of it — and the arrangement carries the rhythm Haring had been drawing since his earliest subway work, where a raised arm or bent knee did the job a caption would elsewhere. Reproduced at print scale, that same urgency survives; the figures move exactly as fast on paper as they would have in chalk.

Signed and dated '87 in pencil along the lower edge, Pop Shop I (B) belongs to the same four-print debut portfolio as (A), issued in an edition of 200 plus 30 artist's proofs and 10 hors commerce. Where the opening plate sets connection as the series' throughline, (B) extends it from a pair into a small crowd — the same warmth, scaled up.

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