Robert Indiana kept a series of illustrated journals during the late 1950s and 1960s, in which he discusses the development of his work as well as his daily life on Coenties Slip.

In his first entry on this journal page, for August 1, 1960, Indiana discusses a visit to his studio by Rolf Nelson (known as Ralph at the time) and his British guest, Scotty, commenting about the latter, "In the test of my art, however, she failed miserably, somehow confusing my course with the 19th century English 'Morris' artisans." He also records seeing Othello, with Orson Wells, for the second time, noting he was more impressed this time, and that he met the artist Bob Natkin by chance while waiting to get in. 

In his second entry, for August 2, 1960, Indiana records that he was working on "the mechanization of the Moon Machine [later retitled Moon]," which he describes as his "very summery, large, satisfactory and probably most successful construction to date." He remarks that:

"it is utilizing that very part of old loft construction that Steve [Durkee] has deigned to set up sufficient unto itself in a cement block, like a musty phallic sentinel over his sleep•sex pad. Mine to more use however engaging this upturned lintel to eight of the rusted wheels that we carried from the depths beyond the Manhattan Bridge. They were in place temporarily yesterday, and it was this enigmatic figure that caused Scotland’s daughter (as un•esthetic as all the Scots are) so much consternation."

He continues his discussion of the work, noting he painted four moons on the back of the beam: "all full and gleaming with as much white gesso as I dare apply. The crest is not yet decided, but I did saw off its rough torn top, covering as is my wont as many wounds as possible."

Indiana notes that at this point there were at least half a dozen constructions underway, with almost all of his flat stele used, enabling him to begin to think of the columns. He also notes that his painting was suffering.