Art Review The artist's free-handed style, on view in works at the Brant Foundation, feels prescient in light of the upcoming AI cataclysm. Keith Haring, "Untitled" (1981), sumi ink and acrylic on paper (all photos © Keith Haring Foundation, courtesy the Brant Foundation) Forty years ago, New York was almost the opposite of what it is today. Though the city had mostly pulled back from the brink of breakdown brought on by White Flight, bankruptcy, etc., by the early 1980s, whole neighborhoods still seemed to have collapsed. Little did I know at the time that, as bad as it was, the city had become a kind of canvas. Graffiti — the art movement of the day — filled the empty spaces. Walls, subway cars, you name it: Everything was covered with magic marker and spray cans. Most of it was tags, cryptic nicknames, and street numbers done hastily with spray cans and magic marker. This was when Keith Haring’s work first appeared. And in this context, it seemed clever, upbeat, and lively.…