Untitled 5 is a 1982 lithograph on paper by Keith Haring. Untitled 5 hails from Haring’s very first print portfolio, a compilation of untitled works that introduce Haring as a proficient modern artist which are the beginning of a comprehensive key reference to the vast pictorial language that he developed over the course of his career. Haring’s Untitled portfolio, was sprung from a split in the fabric of society as AIDS emerged as a public health emergency, the grip of new media tightened, and the sociopolitical climate was rocking at the threat of nuclear war. As a member of this society and artist both, Haring faced the unrest and spirit of fear head-on, and reformed the fragile culture around art by tackling complex topics with the playful strokes of his brush.

Between fragments of Untitled 5 is Haring’s notable symbolism, the backbone of his art and ideological expressions, displayed in frenetic dog forms that seem to howl in the face of the cross. Unabashed in his views, Haring commonly took to using the dog as a symbol of institutional corruption from powers that order obedience, yet defy the universal moral code. Juxtaposed with a symbol intended to be sacred, the dogs seem to metamorph into heretical wolves, a peep into a man who valued discernment above all and the caution with which Haring approached religion, government, and other organizations holding legitimate influence.

Defined by a cacophony of black and bold line work, there is an organized chaos about Untitled 5, the kind that captures the essence of Haring’s personal depth and thematic activism. Beyond the brain-tickling array of simple line and form, the attraction of the piece lies in the human instinct to find meaning; a testament to Haring’s ability to create commanding work that melds message with mien.