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 October 20, 1962, Indiana records bumping into John Dunn and a visiting friend, and that he was able to get a ride with them uptown, where they saw his show (his first solo exhibition at the Stable Gallery). He writes that Alan Groh (the gallery's director) had good news for him: Coenties Slip had been bought by the Eisensteins (collectors in Washington, D.C.), Four had been reserved, Cuba had been reserved by Alicia Legg of the Museum of Modern Art for a traveling assemblage show (Assemblage), and Eleanor Ward had put a hold on Year of Meteors for the Albright-Knox Art Gallery. He also notes that a couple came in and purchased the sculpture Hex, "totally not planning any such purchase," and that Groh said the "gallery was mobbed."   

Indiana also records going to buy the Sunday papers and spotting his painting The Black Diamond American Dream #2 face up on a stack of Herald Tribunes. Of the review he writes: "Emily Genauer came through more grandly than I could have hoped for, pegging and article on [the] new new wave, Janis’ show, and even Claes and Giles on my show and painting, using “Dream” in a three column cut, on [the] front page of the Arts section. “One for the Road Signs.” Rather made [the] 20th!"

He notes buying extra copies, and calling numerous friends, including Joseph Heil (an artist and collector), Campbell Wylly (a curator at the Museum of Modern Art), and Arthur Carr (a clinical psychologist and collector), to tell them about the article.