Apocalypse 6 (Littmann P. 105) by Keith Haring confronts the anxieties of nuclear annihilation through the repurposing of the Mona Lisa, transforming the image into a monstrous and grotesque form.

At the work's centre, the Mona Lisa becomes the face of the monster with drawn arms and hair springing forth. The crosshairs drawn on the painting impose a mechanical logic onto the image, while the surrounding flames introduce a sense of imminent rupture. Haring's characteristic black lines are used to create the arms which are raised suggesting a sense of panic.

The palette reinforces the work’s tension through stark contrast. Bright orange and green passages—colours associated with hazard and warning—punctuate the work alongside primary blue accents. These industrial tones clash with the warmer, organic hues of the Mona Lisa,sharpening the opposition between archaic symbol and contemporary threat.

The title’s reference to the Book of Revelation frames the image within a longer tradition of apocalyptic imagery, but Haring’s treatment remains grounded in the present.

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