As a symbol of anti-drug activism, Crack Is Wack commemorates Haring's powerful sociopolitical presence as an artist and remains a part of New York City's repertoire of iconic public art.

Haring's anti-crack mural emerged during a period of intense political tension in the United States due to widespread illegal drug use.

Although he admittedly took hallucinogens as a method of rebellion and valued their "mind-expanding" power as inspiration for his art, Haring was highly opposed to crack cocaine.

[5] Without having been commissioned—or even given legal permission at all—Haring set out to create Crack Is Wack on the wall of an abandoned handball court in a park at 2nd Avenue and East 128th Street on June 27, 1986.

[4] Haring's unique style is evident in the mural developed first in his earliest drawings on expired advertisement panels throughout the New York City Subway system upon which he drew bold yet simplistic images with white chalk.

Upon a vibrant orange background, the mural includes a conglomeration of human and monster-like figures outlined by thick black lines that surround the phrase 'crack is wack' in bold letters.

Art history professor Natalie E. Phillips argues that Haring achieves a direct and straightforward means of expression by utilizing this simple imagery and basic forms in Crack Is Wack and his other artwork.

[13]  Author and art critic Bruce D. Kurtz expands upon this point by suggesting that the intentional lack of gender, race, and age in Haring's figures gives his artwork a sense of accessibility to all people.