A freestanding slab of concrete wall at the northwest corner of Houston Street and Bowery is being transformed into a fluorescent pink, orange, and green Keith Haring mural — again. To celebrate the 50th anniversary of Haring’s birth on May 4, the gallery Deitch Projects, which has represented the artist’s estate for more than a decade, and the Keith Haring Foundation have hired artists to recreate the mural that Haring, who died of AIDS in 1990, painted on the wall in 1982.

“For people like myself who were around in the early ’80s, this Houston Street mural remains a landmark,” the art dealer and curator of Deitch Projects, Jeffrey Deitch, said. “It was such a fabulously renegade piece of New York City public street art,” the foundation’s executive director, Julia Gruen, who began her career as Haring’s studio manager in 1984, said. Ms. Gruen recalled passing by the site before she starting working for Haring. “It was the middle of the summer, it was hot as hell, and it got so much attention.”

While the gallery and the foundation are running the project, it was Mr. Deitch’s relationship with the owner of the wall, real estate developer Tony Goldman, that sparked the re-creation. The chairman of Goldman Properties, whose holdings include such luxury condominiums as the Lofts of Greene Street and 25 Bond, Mr. Goldman is a frequent visitor of Deitch Projects.

“He’s very much in Soho,” Mr. Deitch said, referring to Mr. Goldman’s property holdings. “Over the course of his visits we were talking about Keith Haring, and somehow it came out that he owns that wall, and I said, ‘We have a project we should do together.’ So it was a natural.” Mr. Goldman agreed to donate the use of the space.

“The concept of recreating a mural is not necessarily something we would ordinarily agree to,” Ms. Gruen said, noting the technical resources needed to re-create, as opposed to simply restore or repair, an artwork. “It was really the fact that the wall still exists that made this so attractive.”

The mural, Haring’s first major outdoor project, existed for a few months before its Day-Glo colors began to fade under the sun. Haring then painted over the work, destroying his own creation before it could further decompose. Before he wiped it out, however, Haring’s friend, the photographer Tseng Kwong Chi, documented the image, as he had done with much of Haring’s work, including Haring’s installations and site-specific drawings in the subway stations throughout the 1980s.

From Chi’s photographs and from paint samples recovered by scraping away the more than 20 years of graffiti that covered the site, the studio the foundation hired for the project, Gotham Scenic, was able to replicate the design and color-match the paint the artist had used.

“The foundation had really good documentation of it,” the artist in charge of the project for Gotham Scenic, Tom Glisson, said. “We went in and located little chips of color,” Mr. Glisson said. “We’re making an accurate a copy as we can.”

Last September, the foundation hired Gotham Scenic to restore Haring’s 1986 “Crack is Wack” mural in Harlem River Park at East 128th Street and Second Avenue.

The mural on Houston, which will be up until December 21, is just one part of a series of events and shows designed to honor Haring’s legacy. In November, Deitch Projects will display Haring’s 1985 work “The 10 Commandments,” a series of paintings, each 25 feet tall by 17 feet wide, which has never before been showed in America. Because of their enormous scale, the paintings will be presented in the gallery’s Long Island City space.

Haring, his influence on pop art, and his circle of friends — which included Madonna, Jean-Michel Basquiat, and Andy Warhol — are also the subject of a documentary, “The Universe of Keith Haring,” which will make its American premiere at the Tribeca Film Festival on April 30.

For Mr. Deitch, though, the Houston mural is representative not only of Haring’s artwork, but also of the broader cultural movement he represented. “At the time, the corner of Houston and Bowery was the center of the downtown art world, because the galleries were in SoHo and the artists were in the East Village,” Mr. Deitch said. “1982 was the peak of this downtown art world culture, and it’s also when it started going mainstream,” he said. “This project is a celebration of the dynamism of this time.”