Apocalypse 8 (Littmann P. 106) by Keith Haring layers a dark, spermlike form across the sheet, surrounded by dripping marks, robotic monsters and the number 666 marking the scene as Revelation's beast made visible.

It's the most explicitly biblical image in a portfolio otherwise built from Haring's own private symbols, and the collision is deliberate — Cold War anxiety, mass media and religious apocalypse folded into the same compressed field the way his earlier work folded the AIDS crisis into a barking dog or a radiant baby. Made with William Burroughs during a period when both artist and writer were working against a shared sense of accelerating threat, the print trades legibility for density on purpose.

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