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 December 26, 1962, Indiana records a visit from James Rosenquist, who came to pick up his painting, which he wanted to show at Stable Gallery. Indiana writes that "in so many words I put it to him [that] he could show [this] year if he so desired . . . at the Stable." He continues: "More and more [the] name of Harry Jackson, [the] abstractionist-turned-realist [that] was much toasted by [the] Luce people, comes on Rosenquist’s tongue and today even more alarming [the] name of Knoedler’s itself seemed to lay heavy in his mouth! A real shocker!"

Indiana also notes a call from James Speyer, of the Art Institute of Chicago, confirming that Year of Meteors would be in the Sixty-Sixth American Annual Exhibition: Directions in Contemporary Painting and Sculpture, and inviting him to be on the jury of the Chicago Annual in the spring. Indiana describes it as "a real bolt out of [the] blue," and that it would entail two trips to Chicago, paid for, and a small honorarium.

He records calling his gallerist Eleanor Ward to tell her about the offer, as well as of his brainstorm with Andy Warhol and Marisol regarding a joint Mona Lisa themed show, noting: "she seemed taken with [the] idea, particularly when reminded [that] Marisol had already done a Mona Lisa, Warhol plans one, and Rosenquist says [that] he too has one!"

Indiana also writes that he began the restoration of Mate.