The exhibition was set on display on the first floor, right next to the entrance and across from the museum's gift shop. They even had a projector set up with interviews, footage of him working on the actual pieces and information about his background and career to help museum-goers learn more about Haring.
This was great to see, considering that the artist Haring himself, did everything he could to allow his art to be visible to as many people as possible. This is exemplified, as we all remember, by his brief but prolific and spontaneous career in New York in the 90s, painting on as many blank canvases in the city's subway system where literally millions of people's eyes wander every day and night. And these "unconventional canvases" on display at the museum capture the same sentiment: he wanted as many people to see the beauty and message of his art as possible on an accessible level for all peoples.
Looking closely at the work he finished on the cars, there are visible paint drips that Haring seemingly was unbothered by, and even such quick and brief paint strokes that allowed for the car's original paint to shine through Haring's work. But this, like his work in the NYC subways, was condoned because Haring wanted to get as much done as possible; more art pieces to display equals more chances for his work to be seen. He also made sure to cover every and all parts of the car, from the bottom of the bumpers to the small borders of the windows, so that no matter who is standing where, everyone has a vantage point to be able to appreciate his work.