In 1964, when Larry Aldrich, an American fashion designer, commissioned a painting from Robert Indiana, neither could have foreseen the consequences for the artist’s career. The self-described “painter of signs” produced “Love Is God”, a work that spells out its title in white letters, set in a circle against a monochrome background. The idea had “burst into mind”, Indiana explained, when he learnt that Aldrich was converting an old Christian Science church into a gallery in Ridgefield, Connecticut. Suddenly the artist was back in the Christian Science churches to which he had been taken as a child, where “God Is Love” always appeared on an otherwise bare wall.