In Blueprint Drawings (13), Keith Haring crafts a potent narrative emblematic of the distressing era of the AIDS epidemic in 1980s New York. The screenprint frames a scene teeming with faceless figures—a recurring motif symbolizing anonymity in Haring’s work—gathered on a terrain speckled with dashes, evoking the omnipresent threat of the HIV/AIDS virus. These figures, captured in a poignant and evocative moment, are faceless but not sexless. They hold their erect penises in their hands—a not-so-subtle reference to the series’ underlying themes related to anonymous sex in the gay community. Amidst the crowd, some figures appear to wave or hail, while others appear in distress or perhaps reverence.

Looming in the backdrop is a stark black pyramid, a symbol Haring frequently used to reference ancient history and the past. This might suggest that while the crisis felt immediate and pressing, the weight of history bore down on the present moment, emphasizing the gravity and depth of the situation.

On the right, introducing an element of the unknown, a flying saucer tilts above the throng, its eye-like aperture casting its luminous ray upon a single figure. This individual, illuminated by the saucer’s light, stands out from the group, suggesting themes of selection, social stigma, potential salvation, or perhaps another form of victimhood. The saucer’s presence, indicative of the uncertainty of the future, introduces ambiguity: Is it a harbinger of hope, or an additional threat? With this piece, Haring masterfully blurs the lines between victimhood and chosen status, reflecting the convoluted emotions and experiences of the time.