Untitled #6 1988

Keith Haring made this untitled drawing with black marker on white paper; you can really see how the process is the point. The thick black lines confidently define shapes, leaving minimal room for corrections. I'm drawn to the top left corner, where a figure or head emerges from a tangle of lines and circles, like a thought bubble made solid. The white space around it isn't empty; it's charged, vibrating with potential meanings. Haring’s bold application of ink conveys a sense of urgency, of ideas spilling onto the page. Look at the way that zig-zagging line near the top right of the frame meets a solid rectangle; you can see the same marks repeated elsewhere in his compositions. Haring’s work, like Dubuffet's, celebrates direct, immediate expression, reminding us that art can be both playful and profound. His language of signs, symbols, and figures speaks to a shared human experience, open to interpretation yet undeniably powerful.