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 journal entry for August 7, 1963, Indiana records receiving an invitation from Countess Russell, on behalf of the Bertrand Russell Peace Foundation, to contribute a painting for a show in October at Woburn Abbey (International Exhibition and Sale of Works of Art in Aid of the Bertrand Russell Peace Foundation). He adds that more specific information regarding the exhibition was sent to him by a Tom Kinsey, and in the care of the Museum of Modern Art.

Indiana writes that he opened the invitation while he was having breakfast at the D/H (the Seamen's Church Institute, often referred to as the Doghouse), and that he decided it was an opportune time to see Ralph (Hanneman, the editor the institute's magazine Lookout). He notes that an article ("SCI—Safe Harbor for Thriving Art Community"), published in the July–August edition of Lookout, was "not so bad after all," and that he was "mildly surprised" to find Ellsworth Kelly included. He opines that: "[James] Rosenquist came off best having given him a dramatic and excellent professional studio shot. His color slides came out well of my studio, but I asked for none. I did still press for [the] magnificent early century view of Coenties Slip which is hanging in their administrative offices, but Ralph is obiously not rushing [to] please me there."

Indiana also records that artist Gerald Laing, who was Indiana's studio assistant, brought down a roll of canvas from New York Central Art Supply, and continued to work on the wood (for Indiana's sculptures).