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 September 26, 1962, Indiana records a call from Conrad Janis, the son of gallerist Sidney Janis, telling him that his father had decided to include him in his forthcoming show (International Exhibition of the New Realists), and that he would like to come down during the afternoon to make a selection. Indiana writes that he had to put him off until the evening because he had concert tickets, and that the call "certainly brought a little cheer [to] [the] day." He then pushed to finish the rough carving of the numerals for his Die construction, and cleaned up his studio in preparation for the visit.

Indiana describes his afternoon, which began with a visit to John Ardoin's, to see his photographs of The Melville Triptych, of which he picked a few for rush order. He records that it occurred to him that if he were to give Ardoin and Norman (Ardoin's partner) a painting, that it should "be numeral and have some relation perhaps to Beethoven's symphonies. Say particularly [the] Eighth since Norman once singled out [that] canvas as one he would like." He then records going on a short stroll through Central Park and on to the new Philharmonic Hall for a "pleasant concert, but not very exciting," by Pro Musica. 

Indiana writes that he was back in time for Janis' son and his girlfriend, and that Conrad Janis seemed enthusiastic about his work, and selected the two Dreams (The Black Diamond American Dream #2 and The Red Diamond American Dream #3) and Diamond Eat (The Green Diamond Eat) for his father's consideration. He also notes that he and Tom Wesselmann were the last two artists picked for inclusion in the show.