nt</div>n</div>nttt</div>ntttt</div>n”,”data”:[{“divId”:”gpt-dsk-tab-list-inlist1-uid0″,”displayType”:”medrec”,”targeting”:[{“key”:”pos”,”value”:”mid”},{“key”:”pos”,”value”:”mid-article”},{“key”:”pos”,”value”:”in-list”},{“key”:”viewable”,”value”:”yes”}],”lazyLoad”:”no”,”lazyLoadMultiplier”:2,”zone”:”list/in-list1″,”sizes”:[[300,250],[300,251]]}]}},{“ID”:1234774716,”position”:1,”positionDisplay”:2,”date”:”2026-02-26 13:23:01″,”modified”:”2026-03-03 15:20:18″,”title”:”Untitled (Robot and Airplane)</em>, 1983″,”subtitle”:null,”slug”:”untitled-robot-and-airplane-1983″,”caption”:”Keith Haring: Untitled (Robot and Airplane)</em>, 1983. n”,”description”:”ntttt
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ntBuchhart: We’re really proud to be able to show some of Haring’s most important subway drawings. Many of themu2014like Robot and Airplane</em>u2014include the fiberglass frame. The subway was the laboratory where Haring developed his artistic language, his ideas, many of which he later transferred into large-scale drawings in his studio. </p>nnnn
ntWhen he was making these drawings, it was a bad time in New York. Instead of advertisements on the subway, there were just blank black papers, and Haring would draw on them. He’d use what was provided to him by the subway.</p>nnnn
ntHofbauer: The “X” was a way for Haring to mark something that was important to him. Similar to how the rays highlighted something important.</p>nnnn
ntBuchhart: Haring probably did 12,000 subway drawings. The reason we have a sense of this is because his friend, the photographer Tseng Kwong Chi, following Haring through the subway system many times and took more than 22,000 images, so from this you can estimate. </p>nnnn
ntHaring, by the way, was very irritated that people ripped the subway drawings out because he made them for New Yorkers on the subway, not collectors. But, we are happy and lucky that people did it. </p>nnnn
</p>n</div>”,”alt”:””,”image_credit”:”u00a9 Keith Haring Foundation/Courtesy Brant Foundation”,”url”:”https://www.artnews.com/list/art-news/news/key-works-brant-foundation-keith-haring-exhibition-curators-dieter-buchhart-anna-karina-hofbauer-1234774705/”,”image_id”:1234774711,”image”:”https://www.artnews.com/wp-content/uploads/2026/02/haring086.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/haring086.jpg?w=320″,”width”:320,”height”:226},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/haring086.jpg?w=640″,”width”:640,”height”:452},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/haring086.jpg?w=800″,”width”:800,”height”:565},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/haring086.jpg?w=1024″,”width”:1024,”height”:723},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/haring086.jpg?w=1280″,”width”:1280,”height”:904}},”fullWidth”:814,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
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ntBuchhart: We are really proud of the fantastic selection of nine tarps in the show. All of them were of special importance to Haring. </p>nnnn
ntHofbauer: It’s going to be a very powerful moment, bringing them all together on one wall in the right constellation.</p>nnnn
ntHaring more or less randomly discovered that the tarpaulinu2014otherwise used on trucks and so forthu2014was a great art material for him. He was looking for a material that he could max out. Where do you find this kind of size and proportion? He saw them on trucks and realized he could use tarps to make something really, really huge. </p>nnnn
ntBuchhart: They’re very rare, very hard to track down. </p>nnnn
ntHofbauer: There is a really meaningful quote from Haring about the one with a figure with a hole in his stomach. When he made it, he was reacting to the death of John Lennon on Dec. 8, 1980. </p>n</div>”,”alt”:”Screenshot”,”image_credit”:”u00a9 Keith Haring Foundation/Courtesy Brant Foundation”,”url”:”https://www.artnews.com/list/art-news/news/key-works-brant-foundation-keith-haring-exhibition-curators-dieter-buchhart-anna-karina-hofbauer-1234774705/”,”image_id”:1234774710,”image”:”https://www.artnews.com/wp-content/uploads/2026/02/Haring.jpeg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/Haring.jpeg?w=240″,”width”:240,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/Haring.jpeg?w=481″,”width”:481,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/Haring.jpeg?w=601″,”width”:601,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/Haring.jpeg?w=769″,”width”:769,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/Haring.jpeg?w=1026″,”width”:1026,”height”:1024}},”fullWidth”:576,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
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ntHofbauer: This is a wonderful, huge work. We must remember that Haring went to the Metropolitan Museum of Art and studied the Egyptian art there. These dogs have a close relationship to the Anubis creature, which he would have seen at the Met. They’re also about breakdancing, performance, and being in a public space. </p>nnnn
</p>n</div>”,”alt”:””,”image_credit”:”u00a9 Keith Haring Foundation/Private collection”,”url”:”https://www.artnews.com/list/art-news/news/key-works-brant-foundation-keith-haring-exhibition-curators-dieter-buchhart-anna-karina-hofbauer-1234774705/”,”image_id”:1234774709,”image”:”https://www.artnews.com/wp-content/uploads/2026/02/BFO_7125.jpeg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/BFO_7125.jpeg?w=320″,”width”:320,”height”:190},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/BFO_7125.jpeg?w=640″,”width”:640,”height”:379},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/BFO_7125.jpeg?w=800″,”width”:800,”height”:474},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/BFO_7125.jpeg?w=1024″,”width”:1024,”height”:607},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/BFO_7125.jpeg?w=1280″,”width”:1280,”height”:759}},”fullWidth”:970,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
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ntBuchhart: This is a great example of one of Haring’s fluorescent paint on metal works. We do have a black light room in the show, but this work will be shown outside of it. We’re only showing true masterpieces in the show, and some of them will be on their own. </p>nnnn
</p>n</div>”,”alt”:””,”image_credit”:”u00a9 Keith Haring Foundation/Courtesy Masterworks Foundation”,”url”:”https://www.artnews.com/list/art-news/news/key-works-brant-foundation-keith-haring-exhibition-curators-dieter-buchhart-anna-karina-hofbauer-1234774705/”,”image_id”:1234774708,”image”:”https://www.artnews.com/wp-content/uploads/2026/02/960×0.jpeg?w=960″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/960×0.jpeg?w=193″,”width”:193,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/960×0.jpeg?w=386″,”width”:386,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/960×0.jpeg?w=483″,”width”:483,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/960×0.jpeg?w=618″,”width”:618,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/02/960×0.jpeg?w=824″,”width”:824,”height”:1024}},”fullWidth”:463,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
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ntBuchhart: Haring made quite a few vases. This is one of the larger ones, and the only one in the show. He hand-drew all the scenes, and there are so many of them.</p>nnnn
ntHofbauer: His line is impeccable. He didn’t do any sketches or tryouts or anything. He just drew. And he had a perfect line.</p>nnnn
ntBuchhart: When Haring was at the Met, he also looked at Greek and Roman vases. The upper part of the vase is more complex, but the lower part has strips with a crawling baby, one after another, and other figures. It’s a little more like the borders of a Greek vase. </p>n</div>”,”alt”:””,”image_credit”:”u00a9 Keith Haring Foundation/Courtesy Galerie Enrico Navarra, Paris”,”url”:”https://www.artnews.com/list/art-news/news/key-works-brant-foundation-keith-haring-exhibition-curators-dieter-buchhart-anna-karina-hofbauer-1234774705/”,”image_id”:1234775466,”image”:”https://www.artnews.com/wp-content/uploads/2026/03/Screenshot-2026-03-03-at-12.10.55-PM.png?w=806″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/Screenshot-2026-03-03-at-12.10.55-PM.png?w=179″,”width”:179,”height”:240},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/Screenshot-2026-03-03-at-12.10.55-PM.png?w=358″,”width”:358,”height”:480},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/Screenshot-2026-03-03-at-12.10.55-PM.png?w=447″,”width”:447,”height”:600},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/Screenshot-2026-03-03-at-12.10.55-PM.png?w=572″,”width”:572,”height”:768},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/Screenshot-2026-03-03-at-12.10.55-PM.png?w=763″,”width”:763,”height”:1024}},”fullWidth”:428,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
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ntBuchhart: Haring made these storyboards on long rolls of paper he had in his studio. They’re fantastic, and nearly human-size in height. He first showed them at P.S. 122 [now Performance Space New York] in 1980, which is just a few blocks from where the Brant Foundation now is. </p>nnnn
ntHofbauer: In one of the middle panels, there’s a flying saucer and a copulating couple. What I find particularly humorous is the lines radiating off the couple, which he used to give objects or figures glowing power.</p>nnnn
ntBuchhart: The flying saucer is also very important. It’s a reference to him being different in his sexuality. It’s a way to mark otherness and power. </p>n</div>”,”alt”:””,”image_credit”:”u00a9 Keith Haring Foundation The Keith Haring Foundation, New York”,”url”:”https://www.artnews.com/list/art-news/news/key-works-brant-foundation-keith-haring-exhibition-curators-dieter-buchhart-anna-karina-hofbauer-1234774705/”,”image_id”:1234775465,”image”:”https://www.artnews.com/wp-content/uploads/2026/03/small-KHD-1094_03.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/small-KHD-1094_03.jpg?w=320″,”width”:320,”height”:96},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/small-KHD-1094_03.jpg?w=640″,”width”:640,”height”:192},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/small-KHD-1094_03.jpg?w=800″,”width”:800,”height”:240},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/small-KHD-1094_03.jpg?w=1024″,”width”:1024,”height”:307},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/small-KHD-1094_03.jpg?w=1200″,”width”:1200,”height”:360}},”fullWidth”:1024,”fullHeight”:307,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null,”ads”:{“html”:”t
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ntBuchhart: This is the one work in the show that is from his show at Fun Gallery in 1983. It’s large, nearly 9 feet in length. It looks like a map of the U.S. He initially showed this on colorful spray-painted walls, which we did when we included it in a show at the National Gallery of Victoria in Melbourne [in 2019-20]. He, we wanted viewers to be able to focus on every single work, so we are presenting it differently. </p>n</div>”,”alt”:””,”image_credit”:”Private Collection/u00a9 Keith Haring Foundation”,”url”:”https://www.artnews.com/list/art-news/news/key-works-brant-foundation-keith-haring-exhibition-curators-dieter-buchhart-anna-karina-hofbauer-1234774705/”,”image_id”:1234775464,”image”:”https://www.artnews.com/wp-content/uploads/2026/03/Unknown.jpg?w=1024″,”sizes”:{“pmc-gallery-s”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/Unknown.jpg?w=320″,”width”:320,”height”:185},”pmc-gallery-m”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/Unknown.jpg?w=640″,”width”:640,”height”:370},”pmc-gallery-l”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/Unknown.jpg?w=800″,”width”:800,”height”:463},”pmc-gallery-xl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/Unknown.jpg?w=1024″,”width”:1024,”height”:592},”pmc-gallery-xxl”:{“src”:”https://www.artnews.com/wp-content/uploads/2026/03/Unknown.jpg?w=1024″,”width”:1024,”height”:592}},”fullWidth”:995,”fullHeight”:575,”mime_type”:”image”,”ad”:””,”appleSongID”:null,”enableAppleGA”:false,”additionalDescription”:null,”subtitleColor”:null,”additionalSubtitle”:null,”additionalSubtitleColor”:null}],”galleryCount”:”8″,”galleryID”:”1234774705″,”previousPageLink”:””,”nextPageLink”:””,”template”:”item-featured-image”,”ordering”:””,”galleryTitle”:”Key Works from the Brant Foundationu2019s Upcoming Keith Haring Exhibition, Selected by Curators Dieter Buchhart and Anna Karina Hofbauer”,”isList”:”1″,”logo”:[],”i10n”:{“backToArticle”:”Back to Article”,”backToAllGalleries”:”Back to All Galleries”,”backToReview”:”Back to Review”,”backToAllReviews”:”Back to All Reviews”,”thumbnail”:”Thumbnails”,”nextSlide”:”Next Slide”,”prevSlide”:”Previous Slide”,”skipAd”:”Skip Ad”,”skipIn”:”Skip In”,”of”:”of”,”missingSomething”:”You’re missing something!”,”subscribeNow”:”Subscribe Now”,”next”:”Next”,”nextGallery”:”Next Gallery”,”closeThisMessage”:”Close this message”,”closeModal”:”Close Modal”,”closeGallery”:”Close Gallery”,”startSlideShow”:”Start Slideshow”,”lightBox”:”Lightbox”,”scrollUp”:”Scroll Up”,”scrollDown”:”Scroll Down”,”look”:”Look”,”readMore”:”Read More”,”showLess”:”Show Less”,”vertical”:{“photo”:”Photo”}},”ads”:{“rightRailGallery”:{“html”:”t
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Keith Haring in his studio in New York City, 1983.
Photo Paulo Fridman/Corbis via Getty Images
Next week, an exhibition of Keith Haring‘s artwork from the early 1980s opens at the Brant Foundation in New York’s East Village, the same neighborhood where the Pop and graffiti artist first made a name for himself.
The tight date range was very intentional. Co-curators Dieter Buchhart and Anna Karina Hofbauer told ARTnews that they wanted to focus on Haring’s formative years, when he was he was still so connected to New York.
“It is remarkable when you read his diary,” Hofbauer notes, “how much he was on the move. By the mid ’80s he was constantly talking about traveling the world—Tokyo, Paris, Amsterdam. In the early ’80s, he was still formalizing his vocabulary. Around ’85 he added a new vocabulary, related to the ongoing AIDS epidemic.” Haring died from AIDS-related causes in 1990.
Buchhart and Hofbauer are well-versed in this era of art history. They curated “Basquiat X Warhol” at the Brant Foundation in 2024 and Buchhart organized a Basquiat solo show there in 2019. Their Keith Haring show includes nearly 50 artworks, many of which were first exhibited in now-legendary shows at downtown galleries like FUN and Tony Shafrazi, as well as the alternative art space P.S. 122. There are large-scale painted tarps, chalk drawings Haring made in-situ on New York City subways, many dancing figures, and even a painted vase.
Below, Buchhart and Hofbauer discuss some of the most important artworks in “Keith Haring,” on view at the Brant Foundation from Mar. 11-May 31.
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Untitled, 1982
Image Credit: © Keith Haring Foundation/Collection Braun Family Foundation Buchhart: This ink drawing was done on a huge piece of paper, and Haring mapped it all out in his mind. We know from videos of him making this work that he had the image he wanted to create in his mind. In the center is a very important figure, one we see in some of the tarp works as well: one person holding another up. Is it a corpse, or someone cheering?
Hofbauer: Often when he drew these figures, it was about honoring and elevating. And the figures on the bottom, are they tying to escape the scene?
Buchhart: There is always both sides. They could be fleeing, or cheering. There’s often an ambiguity in Haring’s work, which is a really important point.
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Untitled (Robot and Airplane), 1983
Image Credit: © Keith Haring Foundation/Courtesy Brant Foundation Buchhart: We’re really proud to be able to show some of Haring’s most important subway drawings. Many of them—like Robot and Airplane—include the fiberglass frame. The subway was the laboratory where Haring developed his artistic language, his ideas, many of which he later transferred into large-scale drawings in his studio.
When he was making these drawings, it was a bad time in New York. Instead of advertisements on the subway, there were just blank black papers, and Haring would draw on them. He’d use what was provided to him by the subway.
Hofbauer: The “X” was a way for Haring to mark something that was important to him. Similar to how the rays highlighted something important.
Buchhart: Haring probably did 12,000 subway drawings. The reason we have a sense of this is because his friend, the photographer Tseng Kwong Chi, following Haring through the subway system many times and took more than 22,000 images, so from this you can estimate.
Haring, by the way, was very irritated that people ripped the subway drawings out because he made them for New Yorkers on the subway, not collectors. But, we are happy and lucky that people did it.
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Untitled, 1981
Image Credit: © Keith Haring Foundation/Courtesy Brant Foundation Buchhart: We are really proud of the fantastic selection of nine tarps in the show. All of them were of special importance to Haring.
Hofbauer: It’s going to be a very powerful moment, bringing them all together on one wall in the right constellation.
Haring more or less randomly discovered that the tarpaulin—otherwise used on trucks and so forth—was a great art material for him. He was looking for a material that he could max out. Where do you find this kind of size and proportion? He saw them on trucks and realized he could use tarps to make something really, really huge.
Buchhart: They’re very rare, very hard to track down.
Hofbauer: There is a really meaningful quote from Haring about the one with a figure with a hole in his stomach. When he made it, he was reacting to the death of John Lennon on Dec. 8, 1980.
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Untitled (Dancing Dogs), 1981
Image Credit: © Keith Haring Foundation/Private collection Hofbauer: This is a wonderful, huge work. We must remember that Haring went to the Metropolitan Museum of Art and studied the Egyptian art there. These dogs have a close relationship to the Anubis creature, which he would have seen at the Met. They’re also about breakdancing, performance, and being in a public space.
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Untitled, 1982
Image Credit: © Keith Haring Foundation/Courtesy Masterworks Foundation Buchhart: This is a great example of one of Haring’s fluorescent paint on metal works. We do have a black light room in the show, but this work will be shown outside of it. We’re only showing true masterpieces in the show, and some of them will be on their own.
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Untitled (Tinaja), 1982-83
Image Credit: © Keith Haring Foundation/Courtesy Galerie Enrico Navarra, Paris Buchhart: Haring made quite a few vases. This is one of the larger ones, and the only one in the show. He hand-drew all the scenes, and there are so many of them.
Hofbauer: His line is impeccable. He didn’t do any sketches or tryouts or anything. He just drew. And he had a perfect line.
Buchhart: When Haring was at the Met, he also looked at Greek and Roman vases. The upper part of the vase is more complex, but the lower part has strips with a crawling baby, one after another, and other figures. It’s a little more like the borders of a Greek vase.
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Untitled, 1980
Image Credit: © Keith Haring Foundation The Keith Haring Foundation, New York Buchhart: Haring made these storyboards on long rolls of paper he had in his studio. They’re fantastic, and nearly human-size in height. He first showed them at P.S. 122 [now Performance Space New York] in 1980, which is just a few blocks from where the Brant Foundation now is.
Hofbauer: In one of the middle panels, there’s a flying saucer and a copulating couple. What I find particularly humorous is the lines radiating off the couple, which he used to give objects or figures glowing power.
Buchhart: The flying saucer is also very important. It’s a reference to him being different in his sexuality. It’s a way to mark otherness and power.
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Untitled, 1983
Image Credit: Private Collection/© Keith Haring Foundation Buchhart: This is the one work in the show that is from his show at Fun Gallery in 1983. It’s large, nearly 9 feet in length. It looks like a map of the U.S. He initially showed this on colorful spray-painted walls, which we did when we included it in a show at the National Gallery of Victoria in Melbourne [in 2019-20]. He, we wanted viewers to be able to focus on every single work, so we are presenting it differently.
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