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.

This journal page covers February 1, 1959, and February 1, 1960. Indiana's entry for February 1, 1959, includes a sketch of an egg shape, with the notes "'February' / white on blue ½ Permalba to ½ Cambridge blue / oil on wood." He writes that he "did not yet realize it was February, but surely it was a February painting," painted "over one of the very worst of heads that I painted: the leering female tete; impossible," and done while listening to a "fine program of Catalonian music by Pablo Casals and his brother Enrique." Indiana also records partially correcting "another matter . . . one of the first four square black and white, oil on paper compositions altered to obscure an obnoxious feature."

Indiana often referenced current events in his journals; here he records "Swiss women still barred suffrage," referring to a February 1, 1959, referendum on women's suffrage, which was rejected by 67% of Switzerland's men. He also references a current event in his second entry on the page, for February 1, 1960. "Algerian revolt over" refers to the end of "the week of barricades," an insurrection in Algiers which began on January 24, 1960.

In his entry for February 1, 1960, Indiana records sleeping well into the afternoon. He writes that his "green painting" (Green County, and early version of Columbus: The Geography of the Memory) "looks good," and that Kloss liked "it particularly, placing it above all my more recent paintings." He also laments his money situation, which kept Kloss and him from going out that day.