Keith Haring’s Pop Shop V series was created in 1989 using a limited color palette of black, pink, orange, blue and purple. The whimsical prints feature Haring’s signature thick black lines and bold color choices. The composition shows two figures: a human and a dolphin. The human figure seems to want to join the dolphin, while the dolphin appears to make noises when the swimmer joins it, as shown by the short lines of action from its mouth. It is also in the Catalogue Raisonne (Littmann PP. 148).

The work is full of movement and sound, and Haring is incredibly successful in conveying these non-visual concepts to us through the unique visual language he has created. Many Keith Haring works, like this one, are signed and numbered by Julia Gruen, the executor of the Keith Haring Estate, as Keith Haring was already deceased when the prints were printed.

Haring created several Pop Shop portfolios throughout his career and derived the name from his original Pop Shop, which he opened in a storefront in downtown New York in 1986. This store was opened with the intention of making the artist’s work accessible to the general public, and this accessibility is an explicit Pop sentiment. Keith Haring’s Pop Shop Screenprints series is a living testament to his mission to make art accessible to all. Born from the ethos of his Pop Shop – a retail store he opened in New York’s SoHo district in 1986 – these screenprints embody Haring’s commitment to the democratization of art by breaking down the barriers between high art and popular culture The Pop Shop itself was more than just a store; it was an extension of Haring’s artistic vision. Every inch of the store, from floor to ceiling, was adorned with his signature black and white murals, creating an immersive environment that reflected his dynamic style. The store offered a range of merchandise, including T-shirts, posters and buttons, all emblazoned with Haring’s iconic images. By keeping the prices of these items affordable, Haring ensured that his art was accessible to a wide audience, from art collectors to ordinary passers-by. On this basis, Haring developed the Pop Shop Screenprints series, consisting of six different sets of four screenprints each. These works, created between 1987 and 1989, show the evolution of Haring’s thematic explorations and his mastery of form and color.

The first series, Pop Shop I, published in 1987, features compositions that explore themes of unity and support. One notable work depicts two larger figures lifting a smaller, radiant figure, symbolizing communal uplift and the encouragement of youth – a recurring motif in Haring’s work. Pop Shop II, introduced in 1988, ventures into more abstract realms, depicting figures in surreal and twisted forms. These images question the perception of the human body and movement and reflect Haring’s interest in the fluidity of identity and form. In 1989, Haring published Pop Shop III, a series that explores the intrusion of technology and machines into human life. The prints depict interactions between his signature figures and ambiguous mechanical forms, suggesting a tension between humanity and technological progress.

Subsequent series, including Pop Shop IV, V and VI, continue to explore complex themes through Haring’s distinctive visual language. Each series uses bold lines, vibrant colors, and dynamic figures to address themes ranging from social justice to the human experience. Haring’s Pop Shop screenprints reflect not only his artistic skill, but also his tireless commitment to social activism. With these works, he tackled pressing issues of his time, including the AIDS crisis and the fight for LGBTQ+ rights, and packaged profound messages in accessible and engaging images. Today, the Pop Shop screenprints are celebrated as iconic representations of 1980s pop art and continue to resonate with a global audience.

They serve as enduring symbols of Haring’s belief that art should be a universal language that bridges divides and fosters connections between different communities. At the current Contemporary Day Auction at Sotheby’s in New York on May 16, 2025, Keith Haring works achieved new record prices. This proves once again that Haring’s works continue to be among the most collected works of Pop Art and post-war American art.

Literature: Klaus Littman. Keith Haring: Editions on Paper 1982-1990, The Complete Printed Works. Hatje Cantz Publishers: New York, 1993. Listed and illustrated on pg. 148.