05/14/2026
Between 1980 and 1985, Keith Haring transformed New York City’s subway system into a living canvas. Using the black paper that covered unused advertising panels, he filled the stations with his now‑iconic imagery: radiant babies, barking dogs, dancing figures, flying saucers, pyramids, aliens.
For Haring, the subway became an artistic ‘laboratory’, a space to experiment in spontaneous bursts of creativity, in view of the public. These were not sketches, but disciplined drawings that chartered the development of his visual language. Haring worked quickly and confidently with his drawings to avoid arrest. They were temporary, performative, and anti-establishment in nature, created with the belief that “Art is for everyone.” [1]
Through its repetitious nature of lines, patterns, symbols, and semiotics, his graphic style developed into his own visual language and became increasingly familiar and legible to the everyday spectator. Haring’s imagery often drew from personal struggles and beliefs, contemporary and political concerns, bringing forth an energy that simultaneously captivated and resonated with viewers. Haring addressed issues affecting marginalized communities, while also illustrating his love for music, dance and pop culture.
Seen by thousands of subway riders daily, Haring was inspired by the public engagement and the act quickly developed into a daily practice during his commute. He felt a responsibility to entertain, inform and connect with the diverse audiences who encountered his work.
Haring’s choice of medium and decision to never sign the drawings only reinforced their status as temporary. The drawings were made without permission, blurring the boundaries between graffiti, vandalism, and public art. They bypassed traditional modes of art display and consumption as they were not made to be seen in a gallery or museum setting.
As Haring’s professional reputation grew, many were stolen, in some cases right after he created them. Ultimately, this prompted him to stop, as it went against their populist and impermanent character.
Although the subway drawings represent only a small fraction of work created during his lifetime, they were instrumental to the evolution of his studio practice. They expanded the scale and materiality of the new work he created and sparked a catalyst for further fame and recognition, thus providing opportunities for collaborations with various artists, musicians, and galleries. Haring’s commitment to public art continued beyond the subway with murals and public commissions, and the eventual creation of his Pop Shop.
A period defined by his passion to create, a dedication to public art and a profound belief in art’s ability to “celebrate the humanity in each of us,” [2] Underground highlights a formative chapter in Keith Haring’s illustrious career.
[1] Robert Farris Thompson and David Hockney, Keith Haring Journals, (Viking, 1996), 13.
[2] Dieter Buchhart, “The Endless Political Time” in Keith Haring: The Political Line, ed. Dieter Buchhart, (Prestel, 2014), 38.
📍On view through August 15, 2026. Gallery hours are Wednesday-Saturday, 12-5PM.
Wayne State University College of Fine, Performing and Communication Arts
Art at Wayne Detroit
