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 8, 1962, Indiana records a broken main at the corner of Coenties Slip and Pearl Street, and that he had one objective for the day, finishing The Triptych (The Melville Triptych), and that he succeeded, noting "only [the] letters may require going over again." He also notes stretching his new 50 by 40-inch canvas, which he was proposing for his "poster painting" (Stable), and that he would attempt to force his gallerist Eleanor Ward's hand on the issue. 

He writes that James Rosenquist and his wife came over, and that Rosenquist was "pretty heated up" about Gene Swenson's article ("The New American ‘Sign Painters’," published in the September issue of ARTnews), and asked Indiana if he was writing a letter to the editor, "as if I should naturally have some complaint, too." Rosenquist also reported that Claes Oldenburg was upset that gallerist Sidney Janis had taken two pieces from his current show. Indiana notes that he had not heard from Janis, and thus felt that he might be passed over (for the exhibition International Exhibition of the New Realists, in which he ultimately was included). 

Indiana also records an early morning call from Barrie Bates (later known as Billy Apple), saying that he had found a receptive ear in gallerist Allan Stone, and would be seeing Martha Jackson on Monday. Regarding Stone Indiana writes that he did not like him, that he "received [the] balm and smiles at Castelli."