Pop Shop Quad IV (Littmann P. 142) by Keith Haring divides a single sheet into four panels: a winged angel against red, a bent figure reaching toward another on a darker red ground, a crawling baby lifted between two figures on yellow, and two barking dogs facing off on a dotted red floor.

The panel brings together some of Haring's most recognisable motifs in one object — the angel, the radiant baby and the barking dog all appear here, each reduced to the same economical outline he'd used for them since his earliest subway drawings. Putting them side by side rather than in separate prints lets the four read almost like a private lexicon on a single page, the kind of shorthand that made his imagery legible to people who'd never set foot in a gallery. The quad format itself borrows its structure from comics and advertising as much as from printmaking, compressing several distinct scenes into the space a single image would normally occupy. Produced in 1989, it shows Haring's visual system at its most confident — familiar figures rearranged into new combinations without ever needing to explain what any of them mean.

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