"With the aid of a stencil he sprayed the words Clones Go Home on the walls and sidewalks along the boundary between West and East Village. The intention was to scare away the - in his opinion - noveau rich newcomers to the adjacent neighborhood."
"The brutal frankness of the 1985 Untitled renders any further commentary superfluous." (Nonetheless the writer goes on explaining the painting has "... a political twist by the distinction between a helpless black figure and an active white one.")
"Captured in their rhythmic movements and acrobatic distortions Haring's figures seem to be moving to the sounds of the music. The movements of his figures are indeed based on genuine poses from break dance."
"Keith Haring, who had already painted the body of the African-American dancer Bill T. Jones, saw in the singer's body ( eg. Grace Jones) the perfect combination of "primitive" and "pop". Especially for this event David Spada, a jewelry-designer friend of Haring's, created a skirt and a crown that were likewise painted with Haring's motifs. The photographer Robert Mappelthorpe immortalized this unusual collaboration."
"...Haring visualizes his conviction that he will live on, not in his body, already condemned to death, but in his art." "...we see a skeleton with a radiant key in it's hand, ejaculating over a flowerbed."
"It is still the early work, now stylized as iconic, with which Haring's name is primarily associated: the crawling baby in the radiant halo, the barking dog with an angular muzzle, or faceless figures exposed to absurd situations.