Apocalypse 10 (Littmann P. 109) by Keith Haring confronts the spectre of nuclear annihilation through a collision of sacred and secular imagery.

The collage unfolds around a photograph of a traditional Christ figure, crowned and haloed, surrounded by Haring’s doodles. Haring’s black line drawing builds a network of charged movement through skulls, hands and disconnected image which creates a surreal and confusing image. .

The Apocalypse series reflects Haring’s increasing engagement with political and cultural tension during the late 1980s. Here, the integration of religious imagery with his distinctive visual style introduces a deliberate friction between fixed iconography and fluid line..

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