“Haring was tireless in his work with children of all ages and backgrounds.”
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William Burroughs, Leo Castelli, Henry Geldzahler, Timothy Leary, Roy Lichtenstein, Madonna, Yoko Ono, and Brooke Shields remember Haring.
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Elio Fiorucci writes, “In 1984, we stripped bare our store, measuring 1,500 square meters, and asked Keith Haring to treat it as a space of his own, in which he would be able to create a great work of art.”.
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“…both Schiele and Haring were precocious, incredibly prolific, obsessive workers – producers of voluminous quantities of images, with both artists’ oeuvres consisting primarily of drawings. They each found their signature style at in their early 20s.”
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“Haring did not hesitate to redo other people’s pictures, repainting, formally and explicitly, works by Picasso, Legér, or Matisse, in demonstration of the fact that tradition is a life blood for artists of every age.”
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“Haring’s work embodies the sounds of the New York streets and of streetwise clubs like Paradise Garage”
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“Haring’s innovative, and also politically progressive, strength will only be obvious to his age if the role which sexuality played in his work and in his imagination is taken into consideration…”
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Jerome de Noirmont Gallery discusses the “crucial importance of sex and sexuality in the artist’s life and work”.

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“…Keith Haring, too, had explored a darker side of experience long before the dread diagnosis. The earliest works produced in his characteristic graphic style include serpents and monsters, nuclear radiation and falling angels, cannibals, omnivorous worms, bloody daggers and skeletons…”
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Keith Haring and the Jesus Movement While Keith Haring’s art is not often associated with traditional religious imagery, much of his pictorial vocabulary was in fact influenced by the Jesus Movement of the 1970s. Haring retooled the Jesus Movement’s redemptive imagery into more pessimistic and ambiguous statements, creating an expression of apocalyptic belief suited to his time.
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