Photo: Jody Dole; Courtesy Star of Hope Foundation, Vinalhaven, Maine

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 6, 1962, Indiana records that art critic Gene Swenson called to ask if he might come by for another look at the artist's work (for his review). He writes that was applying the second coat of paint to the second circle of The Black Diamond American Dream #2, on which he had been working all morning, when Swenson arrived. He notes that Swenson "did not put into words his attitude now toward the newly changed 'Dream,' but then at [the] same time he did not repeat his disapproval."

Indiana writes that before Swenson arrived he had heard from Lilian Ross, now working for the Gourmet Society, and that she wanted to sponsor a private preview of his work, "what with my 'Eat' paintings [this] presents a v[ery] ironic possibility." He notes that Alan Groh, the director of Stable Gallery, had at first been startled by the idea, but grew in favor of it after checking into the organization. He also records that Groh mentioned Campbell Wylly (a curator at the Museum of Modern Art) had been in and "said something" about Loftiest Trucks (renamed Melville), and that he added an inscription to the verso of A Divorced Man Has Never Been the President.