Luna Luna Drawing (G/H), 1986

"Luna Luna Drawing (G/H)" is a felt-tip pen on paper drawing by Keith Haring in 1986. The artwork is titled, dated and signed 'Luna Luna Drawings - April 1986 K. Haring' lower center. The artwork ships framed in a contemporary black frame and has a framed size of 24 x 31".

Keith Haring (1958–1990) remains one of the most influential artists of the 20th century, celebrated for a visual language defined by bold lines, animated figures, and rhythmic energy. Rooted in accessibility, activism, and joy, his work moved fluidly between the New York subway and international institutions. His imagery continues to resonate for its immediacy and enduring social relevance.

By 1985, Haring had become a central cultural figure, collaborating with Andy Warhol, Grace Jones, and Jean-Michel Basquiat while exhibiting globally. It was during this pivotal moment that he participated in "Luna Luna," an ambitious project conceived by Austrian artist André Heller as the world’s first art amusement park. Bringing together leading figures such as Salvador Dalí, Roy Lichtenstein, David Hockney, and Basquiat, "Luna Luna" blurred the boundary between fine art and entertainment. Haring’s contribution, a vividly animated carousel, translated his iconography into a fully immersive, kinetic experience.

The drawings presented here, executed in felt-tip pen on paper in 1985, were created as part of this process. Each sheet features rows of Haring’s most recognizable figures, forming a rhythmic sequence of motifs that define his visual universe. Barking dogs, radiant babies, angels, hybrid creatures, and dancing figures appear alongside TV-headed forms that critique media culture. Together, these elements function as a concentrated lexicon of Haring’s symbolic language, capturing themes of authority, transformation, innocence, spirituality, and collective movement.

Rendered with immediacy and precision, these works reflect Haring’s commitment to spontaneity and direct expression. They are not preparatory in a conventional sense but fully realized compositions that retain the vitality of his hand. The repetition of figures across each sheet evokes the motion and energy of the carousel itself, reinforcing the connection between drawing and environment.

These drawings hold particular significance as documents of one of Haring’s most imaginative public projects, one that is now experiencing renewed global attention. They encapsulate his belief in art as an inclusive and participatory experience. Both historically grounded and visually compelling, they offer collectors a rare opportunity to engage directly with the core imagery and ethos of Haring’s practice.