Untitled ("Fertility #4"), 1983

"Untitled (Fertility #4)" is a screenprint on wove paper created by Keith Haring in 1983. From the edition of 120, the artwork is signed and dated 'K. Haring '83' and annotated lower right. The artwork is framed in a contemporary black frame and has a framed size of 47.25 x 55.25". The artwork ships framed and accompanied by a certificate of authenticity.

Executed in fluorescent inks on sheets measuring 42 x 50 inches, the prints from the Fertility suite are celebrated not only for their radiant subject matter but also for their groundbreaking color — a palette that evokes the Day-Glo colors that defined so much of the art, fashion, and music of the 1980s.

The Fertility suite consists of five compositions that together form a vibrant celebration of birth, generative forces, energy, and communal experience. Across the series, Haring evokes themes of cosmic vitality through variations on the pregnant female figure — an archetype of continuity and hope — and child figures. The particular print under discussion shows four dancing pregnant women in a rhythmic formation, with a radiant baby floating aloft. Their bodies curve and bend in a shared, ceremonial dance. The child — rendered in simplified silhouette and crowned with radiating lines — is a distillation of pure life force, hovering above the group as both literal offspring and universal symbol. Throughout the prints in this series, women are celebrated in their strength and grace.

The use of fluorescent inks was critical to achieving the visual impact of these works. In the early 1980s, Haring frequently worked with Day-Glo paints and markers in his murals and studio pieces. These materials, popular in the downtown New York scene and in commercial graphics, created a brilliant saturation that felt both contemporary and accessible — an antidote to the muted minimalism of the 1970s. By translating this intensity into fine art printmaking, Haring gave the Fertility series a luminous, almost electric presence, blurring the line between the immediacy of street art and the permanence of the editioned print. Decades after their creation, they maintain an unmatched vibrancy.

Haring produced the Fertility suite in 1983, just as his career was exploding onto the international stage. That year, he opened exhibitions across Europe and the U.S., all while maintaining his commitment to public art and accessible imagery. The Fertility prints stand apart as some of the most life-affirming works of this transformative moment, emphasizing optimism and creation rather than critique. Few images in Haring’s oeuvre so directly and joyfully address birth, continuity, and hope as this composition of dancing pregnant women and the radiant child.