Stones 4 (Littmann P. 127) by Keith Haring packs a dense field of free-flowing figures into a single monochrome sheet, thick white contours twisting and connecting across the composition.

Like the rest of the Stones series, it returns to lithography and to the black-and-white register Haring worked in before colour became central to his practice — a deliberate echo of the subway drawings, made in the final year of his life as a kind of closing of the loop. Despite the density of the arrangement, the repeated curves and directional shifts keep the eye moving through the image rather than settling on any one point, the same rhythmic logic that ran through his work from the very beginning.

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