For more than a decade now, it’s seemed like, no matter where you looked, Keith Haring’s signature graffiti-styled Everymen, glowing babies, pyramids, and barking dogs were already there. At once deeply populist and profoundly Pop, Haring’s imagery has become a kind of immediately identifiable, universal visual language. Ironically, the artist’s commitment to and success at marketing his populist vision has kept serious consideration of his work at bay. In this retrospective, curator Elisabeth Sussman looks to change that. Tracing his career from his late ’70s collages up through the paintings preceding his death in 1990, the show considers Haring in the context of both neo-Expressionism and ’80s graffiti- and hip-hop-influenced painting. June 18-Sept. 21

— Mark Van de Walle