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Installation view of Robert Indiana: The Sweet Mystery. Left to right: the painting Exploding Numbers, the painting Eat/Die, and four bronze sculptures
Robert Indiana: The Sweet Mystery
Procuratie Vecchie, Venice April 20–November 24, 2024
Painted Pop
Painted Pop
Acquavella Galleries October 10–December 15, 2023
Indiana's red and blue monumental LOVE sculpture on display at Rockefeller Center
Robert Indiana at Rockefeller Center
New York September 13–October 23, 2023
Indiana's red and blue Imperial LOVE sculpture on display at Artzuid
Artzuid
Amsterdam May 20–September 24, 2023
The American Gas Works, a painting of a large circular image against a background of yellow and black vertical stripes. A large red circle contains four smaller circles, each quartered into yellow and black diamonds and surrounded by white ring containing the numerals 0 through 9 painted in black. Surrounding the red circle is a white ring containing the painting's title "The American Gas Works," painted in black letters, and two small black stars.
Picasso and the 20th Century Masters: Museum Ludwig Collection
My Art Museum Seoul March 24–August 27, 2023
A 54 3/8 by 98 by 32 inch (including the base) polychrome aluminum sculpture consisting of two quadripartite LOVE sculptures side by side, with the L and V of each sculpture back to back and the O and E facing outwards. The faces and sides of the sculpture are red, and the insides are blue.
Frieze Sculpture
Regent's Park London September 14–November 13, 2022
Stable, a black painting dominated by a white star within a white ring containing the black stenciled text "Stable 16 October 62." "Indiana" is painted in white stenciled letters across the bottom of the painting.
Mad Women
David Nolan Gallery New York September 8–October 22, 2022
The Rebecca, a black painting with its title, "The Rebecca," painted in white stenciled letters across the bottom of the canvas. Above the text is a large circle, at the center of which is a blue eight within a white ring with a the black text "Port of New York," within a red compass rose within a blue circle. Surrounding this is another white ring, containing the text, in black, "The American Slave Company."
New York: 1962–1964
Jewish Museum New York July 22, 2022–January 8, 2023
Indiana's sculpture ONE Through ZERO, ten polychrome aluminum sculptures of the numerals one through zero, each on a painted aluminum base and displayed on shipping crates. The ONE sculpture is red and blue, TWO is blue and green, THREE is orange and blue, FOUR is yellow and red, FIVE is white and blue, SIX is green and red, SEVEN is blue and orange, EIGHT is purple and red, NINE is black and yellow, and ZERO is shades of gray.
Roy Lichtenstein: More than Dots
He Art Museum Shunde, Guangdong, China June 18–August 15, 2022
Installation view of Motion. Autos, Art, Architecture, featuring a blue convertible, Indiana's Decade: Autoportrait serigraphs, and his painting The Brooklyn Bridge (only partly visible).
Motion. Autos, Art, Architecture
Museo Guggenheim Bilbao Bilbao, Spain April 8–September 18, 2022
Robert Indiana's Cor-Ten LOVE Wall installed at Yorkshire Sculpture Park
Robert Indiana: Sculpture 1958-2018
Underground Gallery and Open Air Yorkshire Sculpture Park, UK March 12, 2022–April 16, 2023
Installation view of Robert Indiana's painting Coenties Slip, 1962, in the exhibition Pop Art and Text at the Oklahoma City Museum of Art
Pop Art and Text
Oklahoma City Museum of Art Oklahoma January 19–July 24, 2022
Installation image of Robert Indiana show at Ben Brown with a blue and gold LOVE sculpture and paintings from Indiana's Ai and Ping paintings
Robert Indiana
Ben Brown Fine Arts Hong Kong December 7, 2021–March 8, 2022
The Metamorphosis of Norma Jean Mortenson, a beige diamond shaped painting. In the center is a topless image of Monroe in front of a yellow star in a rose colored circle. Two rings of text surround this central image. The inner ring contains the actress' name, Marilyn Monroe, and the year "62." The outer ring contains the actress' birth name, Norma Jean Mortenson, and the year "26." Each letter and number in both rings is in a circle of a different color.
Robert Indiana: A Legacy of Love
McNay Art Museum San Antonio October 15, 2020–January 24, 2021
ZERO, front center, with FOUR, FIVE, and SIX behind, from Robert Indiana's 96-inch Corten-Ten Steel ONE Through ZERO (The Ten Numbers) on display at Frieze Sculpture London
Frieze Sculpture
Regent's Park London July 3–October 6, 2019
Installation view of the exhibition Robert Indiana in the Kasmin Sculpture Garden, pictured is Indiana's red and yellow polychrome aluminum AMOR
Robert Indiana
Kasmin Sculpture Garden New York May 3, 2019–February 28, 2020
Announcement for the Love & Peace: Robert Indiana Memorial Exhibition at the Contemporary Art Foundation, Tokyo, featuring a reproduction a red, purple, and green LOVE painting
Love & Peace: Robert Indiana Memorial Exhibition
Contemporary Art Foundation Tokyo November 27–December 2, 2018
Robert Indiana's red, blue, and green LOVE sculpture installed in front of the Albright Knox for the exhibition Robert Indiana: A Sculpture Retrospective
Robert Indiana: A Sculpture Retrospective
Albright-Knox Art Gallery Buffalo, New York June 16–September 23, 2018
Robert Indiana's red polychrome aluminum LOVE Wall installed at the exhibition Love Long: Robert Indiana and Asia at the Asia Society in Hong Kong
Love Long: Robert Indiana and Asia
Asia Society Hong Kong February 7–July 15, 2018
Installation view of Pop Art—Icons That Matter: Collection du Whitney Museum of American Art at the Maillol Museum in Paris with Indiana's LOVE sculpture and X-5 painting
Pop Art—Icons That Matter: Collection du Whitney Museum of American Art
Musée Maillol Paris September 22, 2017–January 21, 2018
Installation view of Indiana's 72-inch-high, Cor-Ten steel sculpture ONE Through ZERO (The Ten Numbers) at Glass House
Robert Indiana: ONE Through ZERO
Glass House New Canaan, Connecticut May 11–November 30, 2017
Installation view of Found in America: Chamberlain, Flavin, Indiana at Waddington Custot Galleries, London with Indiana's painting Apogee
Found in America: Chamberlain, Flavin, Indiana
Waddington Custot Galleries London May 5–June 30, 2017
Installation image of the exhibition Robert Indiana at the Pinacoteca Comunale Casa Rusca in Locarno, Switzerland. Shown are the black and white paintings Three and Nine
Robert Indiana
Pinacoteca Comunale Casa Rusca Locarno, Switzerland April 9–August 13, 2017
Installation view of the exhibition Robert Indiana: To Russia with Love at the State Russian Museum with Indiana's polychrome red and blue LOVE Wall sculpture
Robert Indiana: To Russia with Love
State Russian Museum Saint Petersburg April 7–June 7, 2016
Installation view of the exhibition Robert Indiana at Galleria d'Arte Maggiore, Bologna, Italy with a blue and red AMOR sculpture and the painting Where Oh Where Hides Peace
Robert Indiana
Galleria d'Arte Maggiore Bologna, Italy January 23–March 31, 2016
Hug, a twelve inch square painting with the title in the upper half of the canvas in black stenciled letters against a yellow background. The bottom half of the painting is a field of red.
Robert Indiana Sign Paintings, 1960–65
Craig F. Starr Gallery New York September 10–October 31, 2015
Installation view of Pop to Popism at the Art Gallery of New South Wales, Australia, including Indiana's painting The Demuth American Dream No. 5
Pop to Popism
Art Gallery of New South Wales Sydney November 1, 2014–March 1, 2015
Exhibition poster for Ludwig Goes Pop, at the Museum Ludwig, Cologne, Germany
Ludwig Goes Pop
Museum Ludwig Cologne October 2, 2014–January 11, 2015
Installation view of Witness: Art and Civil Rights in the Sixties at the Brooklyn Museum including Indiana's painting Alabama
Witness: Art and Civil Rights in the Sixties
Brooklyn Museum New York March 7–July 13, 2014
Installation view of The Essential Indiana at the Indianapolis Museum of Art with Indiana's large scale red and green polychrome aluminum sculpture ONE
The Essential Robert Indiana
Indianapolis Museum of Art Indianapolis February 16–May 4, 2014
Installation view of Robert Indiana: Beyond LOVE at the Whitney Museum of American Art
Robert Indiana: Beyond LOVE
Whitney Museum of American Art New York September 26, 2013–January 5, 2014
Installation view of Sculpture in the City, London, 2013, with Indiana's polychrome sculptures FOUR, FIVE, and SIX
Sculpture in the City
London June 20, 2013–May 31, 2014
Installation view of The Pop Object: The Still Life Tradition in Pop Art at Acquavella Galleries, including Indiana's paintings USA Eat, Eat, and the the sculpture Column Eat
The Pop Object: The Still Life Tradition in Pop Art
Acquavella Galleries April 10–May 24, 2013
Cover of the exhibition catalogue Pop Art Design at the Vitra Design Museum
Pop Art Design
Vitra Design Museum Weil am Rhein, Germany October 13, 2012–February 3, 2013
Installation view of Indiana's polychrome aluminum numbers in Robert Indiana: Sculptures at Waddington Custot Galleries, London
Robert Indiana: Sculptures
Waddington Custot Galleries London October 3–November 10, 2012
Cover of the catalogue for Robert Indiana: Rare Works from 1959 on Coenties Slip at Galerie Gmurzynska, Zurich
Robert Indiana: Rare Works from 1959 on Coenties Slip
Galerie Gmurzynska Zurich June 12–September 20, 2011
Mene Mene Tekel, a painting comprised of three dark brown totem like heads, the first has nails in it. in between the first two heads are the words Mene and Tekel; in between the second two heads is the word Mene
Robert Indiana and the Star of Hope
Farnsworth Art Museum Rockland, Maine June 20, 2009–January 10, 2010
Installation view of Robert Indiana: Hard Edge at the Paul Kasmin Gallery with a red polychrome aluminum LOVE Wall and a stainless steel LOVE
Robert Indiana: Hard Edge
Paul Kasmin Gallery New York September 18–November 1, 2008
Installation view of Cor-Ten LOVE Wall displayed by the Duomo in Milan during the exhibition Robert Indiana a Milano
Robert Indiana a Milano
Padiglione d’Arte Contemporanea Milan July 4–September 14, 2008
Robert Indiana's The 6666, The American Dream, a diamond shaped painting with a yellow background and four circles, each containing a yellow numeral six in a black circle and surrounded by a black outlined red ring. Each ring contains black text and a date, from top going clockwise: "Love in Love in Love 66," "To Vinalhaven 69," "The American Dream 60," and "Too the Moon 69."
Robert Indiana: The American Painter of Signs
Museum Wiesbaden Wiesbaden, Germany January 22–May 18, 2008
The Ginkgo Ai, a painting consisting of a black double ginkgo leaf form against a gold background. The Mandarin character for Love, “Ài,” is rendered in yellow, in two different fonts, a simplified sans-serif at the top and a calligraphic font at the bottom.
Robert Indiana: A Retrospective
Galerie Gmurzynska Zurich November 8, 2007–January 26, 2008
The American Gas Works, a painting of a large circular image against a background of yellow and black vertical stripes. A large red circle contains four smaller circles, each quartered into yellow and black diamonds and surrounded by white ring containing the numerals 0 through 9 painted in black. Surrounding the red circle is a white ring containing the painting's title "The American Gas Works," painted in black letters, and two small black stars.
Robert Indiana: Der Amerikanische Maler der Zeichen
Museum Kurhaus Kleve Kleve, Germany August 26, 2007–January 6, 2008
Installation view of Indiana's Cor-Ten sculptures THREE and FOUR in Madrid in 2006
Robert Indiana
Paseo de Recoletos y Paseo del Prado Madrid May 4–July 31, 2006
Cover of the exhibition catalogue Robert Indiana: A Living Legend at the Seoul Museum of Art
Robert Indiana: A Living Legend
Seoul Museum of Art Seoul, South Korea March 11–April 30, 2006
Installation image of columns from Paul Kasmin's Robert Indiana: Wood exhibition
Robert Indiana: Wood
Paul Kasmin Gallery New York September 9–October 8, 2005
Installation view of Robert Indiana: Paintings and Sculpture, 1961 to 2003 at Waddington Custot Galleries featuring the painting The Melville Triptych and the sculpture Ahab
Robert Indiana: Paintings and Sculpture, 1961 to 2003
Waddington Custot Galleries September 29–October 23, 2004
Postcard for Robert Indiana 66: Paintings and Sculpture at the Price Tower Arts Center
Robert Indiana 66: Paintings and Sculpture
Price Tower Arts Center Bartlesville, Oklahoma April 23–July 4, 2004
Installation view of Robert Indiana: Peace Paintings at Paul Kasmin Gallery New York, featuring four of Indiana's diamond shaped Peace paintings.
Robert Indiana: Peace Paintings
Paul Kasmin Gallery New York April 21–May 29, 2004
Cover of Robert Indiana: The Story of LOVE exhibition catalogue with a red LOVE against a blue background
Robert Indiana: The Story of LOVE
Scottsdale Museum of Contemporary Art Scottsdale, Arizona December 20, 2003–May 2, 2004
Poster for the exhibition Robert Indiana: New Paintings and Sculptures at the Michael Kohn Gallery, Los Angeles, featuring the paintings Whither Has Peace Gone
Robert Indiana: New Paintings and Sculptures
Michael Kohn Gallery Los Angeles September 19–October 25, 2003
Exhibition catalogue cover for Robert Indiana: Recent Paintings at the Paul Kasmin Gallery featuring a reproduction of the painting The Ninth American Dream
Robert Indiana: Recent Paintings
Paul Kasmin Gallery New York February 14–March 22, 2003
Installation view of Robert Indiana: Letters, Words and Numbers at C&M Arts featuring the paintings The Small Diamond Demuth Five and Exploding Numbers, and the herms Eat and Hole.
Robert Indiana: Letters, Words and Numbers
C&M Arts New York February 13–March 22, 2003
Cover of catalogue for the exhibition Robert Indiana at the Shanghai Art Museum with a red LOVE against a yellow background
Robert Indiana
Shanghai Art Museum Shanghai July 5–August 8, 2002
Cover of the exhibition catalogue for Los Estados Unidos bajo la Optica de Robert Indiana at Galería Ateneo de Caracas, 2001 featuring a red LOVE against a blue background
Los Estados Unidos bajo la Optica de Robert Indiana
Galería Ateneo de Caracas Caracas, Venezuela May 6–June 17, 2001
Picasso II, a 60 by 50 inch painting with a black ground and the word Picasso painted in green letters across the bottom of the canvas. Above, and occupying most of the canvas, is a circle with a green outline. Dominating the circle are two blue and black large letter "P"s, back to back. In a diagonal band across the circle and over the Ps is the name "Ruiz,"painted in black and red letters. The date 1881 is painted in white numbers at the bottom of the circle, and to the right is the date 73 in blue and black numbers, with a red arrow above it. A yellow arrow appears in the middle left side of the circle, and a blue arrow at the top of the circle.
Hommage à Indiana
Galerie Denise René Espace Marais Paris March 30–May 23, 2001
Cover of the exhibition catalogue for Les Années Pop at the Pompidou Center, Paris
Les Années Pop, 1956 à 1968
Centre Georges Pompidou Paris March 15–June 18, 2001
Cover of the Crossroads of American Sculpture exhibition catalogue
Crossroads of American Sculpture
Indianapolis Museum of Art Indianapolis October 14, 2000–January 21, 2001
Installation view of the exhibition LOVE and the American Dream: The Art of Robert Indiana at the Portland Museum of Art, Maine
Love and the American Dream: The Art of Robert Indiana
Portland Museum of Art Portland, Maine June 24–October 17, 1999
Installation view of the exhibition Robert Indiana: Rétrospective, 1958–1998 at the Musée d’Art Moderne et d’Art Contemporain in Nice, France
Robert Indiana: Rétrospective, 1958–1998
Musée d’Art Moderne et d’Art Contemporain Nice, France June 26–November 22, 1998
Indiana's red polychrome aluminum sculpture 700
VIème Biennale de sculpture Monte-Carlo
Monte Carlo, Monaco May 24–October 31, 1997
KvF VIII (Hartley Elegy), a diamond shaped painting with a black ground. The other colors used in the painting are red, yellow, and white. In the center of the canvas is a large circle with a red ring containing text painted in yellow stenciled letters. The text in the top half of the ring reads "Karl von Freyburg," and in the lower half "Marsden Hartley." Within the circle are stylized motifs of German World War I pageantry and references to von Freyburg. These include a black iron cross in a yellow outlined red circle within a black triangle with a yellow outline, the yellow number 2 on a black ground, a black number 4 on a yellow ground, and a black number 8 on a red ground. Black and white wavy lines are found both within the circle and to the left and right of the circle.
Robert Indiana: The Hartley Elegies
Indianapolis Museum of Art Indianapolis, Indiana January 13–March 31, 1996
Installation view of the exhibition Dictated by Life in the Weisman Art Museum at the University of Minnesota in Minneapolis
Dictated by Life: Marsden Hartley’s German Paintings and Robert Indiana’s Hartley Elegies
Frederick R. Weisman Art Museum Minneapolis April 14–June 18, 1995
Installation view of Indiana, Kelly, Martin, Rosenquist, Youngerman at Coenties Slip at Pace Gallery, New York featuring Indiana's painting The Melville Triptych and his sculptures Soul and Moon
Indiana, Kelly, Martin, Rosenquist, Youngerman at Coenties Slip
Pace Gallery New York January 16–February 13, 1993
Cover of the exhibition catalogue for Hand-Painted Pop: American Art in Transition 1952-62 at the Museum of Contemporary Art, Los Angeles
Hand-Painted Pop: American Art in Transition, 1955–62
Museum of Contemporary Art Los Angeles December 6, 1992–March 7, 1993
Ginkgo, A mirrored ginkgo leaf form on a plywood and gesso panel
Robert Indiana, Early Works
Galería 57 Madrid June 8–September 12, 1992
Poster for the Pop Art Show at the Royal Academy of the Arts, London, 1991
The Pop Art Show
Royal Academy of Arts London September 13–December 15, 1991
Robert Indiana and Simon Salama-Caro at Indiana's 1991 solo exhibition at the Salama-Caro Gallery
Robert Indiana: Early Sculpture, 1960–1962
Salama-Caro Gallery London September 12–November 9, 1991
A LOVE print with the red letters L and a tilted O stacked above the letters V and E, against a blue background.
Robert Indiana Prints: A Retrospective
Susan Sheehan Gallery New York May 16–June 30, 1991
Decade: Autoportrait 1961, a 72 inch square painting with a brown ground. A circle containing a blue decagon dominates the canvas. In the center of the circle is a large black and red numeral one. Painted on top of the one is a black and red star, and on top of the star is a white and yellow numeral one. Text, arrows and numbers are painted in the spaces between the arms of the stars. On the right side the word Chicago is painted in white letters, with a black arrow to the left of the letters H and I, and a green number 61 painted to the left of the letters, A, G, and O. Below the O a yellow number 72 has been painted. The words USA and Indiana are painted in multicolored letters at the bottom of the circle. The words "Bar" and "South Ferry" are painted in white letters in the left side of the circle, as well as a yellow arrow.
Robert Indiana: Decade: Autoportrait
Marisa del Re Gallery, FIAC Grand Palais, Paris October 25–November 1, 1990
Cover of the catalogue for the Robert Indiana exhibition at the Galerie Natalie Seroussi
Robert Indiana
Galerie Natalie Seroussi Paris September 28–November 25, 1989
And ad for the exhibition Robert Indiana: Paintings from the Sixties at the Virginia Lust Gallery, featuring a reproduction of the painting Die Deutsche Liebe
Robert Indiana: Paintings from the Sixties
Virginia Lust Gallery New York January 14–March 18, 1989
The Metamorphosis of Norma Jean Mortenson, a beige diamond shaped canvas. In the center of the painting is a topless image of Monroe in front of a yellow star in a rose colored circle. Two rings of text surround this central image. The inner ring contains the actress' name, Marilyn Monroe, and the year "62." The outer ring contains the actress' birth name, Norma Jean Mortenson, and the year "26." Each letter and number in both rings is in a circle of a different color.
Pop Art: U.S.A.-U.K.
Odakyu Grand Gallery Tokyo July 24–August 18, 1987
The Demuth American Dream No. 5, a cross shaped painting made up five panels, each with a dark gray ground and holds a three yellow number fives in three sizes against a red star. Each panel has a black ring of text around the fives. The central ring has the text American Dream and the dates 1928 and 1963 in yellow. Each other ring contains a word painted in red which appears five times, in between each arm of the star. The word in the top panel is DIE, in the right panel it's EAT, in the lower panel HUG, and in the left panel ERR
Made in U.S.A.: An Americanization in Modern Art, the ‘50s and ‘60s
University Art Museum University of California, Berkeley April 4–June 21, 1987
Exhibition catalogue cover for Definitive Statements
Definitive Statements: American Art, 1964–66
David Winton Bell Gallery, List Art Center, Brown University Providence, Rhode Island March 1–March 30, 1986
Cover of the exhibition catalogue for Dorothy C. Miller: With an Eye to American Art
Dorothy C. Miller: With an Eye to American Art
Smith College Museum of Art Northampton, Massachusetts April 19–June 16, 1985
Cover of the exhibition catalogue for Pop Art, 1955–70
Pop Art, 1955–70
Art Gallery of New South Wales Sydney February 27–April 14, 1985
Installation view of Robert Indiana: Wood Works, National Museum of American Art, Washington, D.C.; left to right: Ge (1960), Bar (1960), Hole (1960), Two (1962), Chief (1962), and Virgin (1960)
Wood Works: Constructions by Robert Indiana
National Museum of American Art, Smithsonian Institution Washington, D.C. May 1–September 3, 1984
Cover of the catalogue for the exhibition The Great East River Bridge, 1883–1983, featuring a view of the Brooklyn Bridge
The Great East River Bridge, 1883–1983
Brooklyn Museum Brooklyn, New York March 19–June 19, 1983
Cover of Indiana’s Indianas exhibition catalogue with a reproduction of the painting The Small Diamond Demuth Five
Indiana’s Indianas: A Twenty-Year Retrospective of Painting and Sculpture from the Collection of Robert Indiana
Farnsworth Art Museum Rockland, Maine July 16–September 26, 1982
Cover of the exhibition catalogue for 25 años despues: Robert Indiana, Ellsworth Kelly, Agnes Martin, Édgar Negret, Louise Nevelson, Jack Youngerman
25 años despues
Museo de Arte Moderno Bogota, Colombia September 1979
Cardinal Two, a painting with a red numeral two against a blue (upper half) and green (lower half) background
Art for the Vice-President's House from Northeast Museums
Albright-Knox Art Gallery Buffalo, New York March 6–March 13, 1979
Inaugural poster for the South Bend Art Center designed by Indiana
Twentieth-Century American Masters: Inaugural Exhibition
South Bend Art Center South Bend, Indiana January 14–February 26, 1978
Poster for the retrospective exhibition Robert Indiana at the Michener Galleries, University of Texas, Austin
Robert Indiana
University Art Museum University of Texas at Austin September 25–November 6, 1977
Cut paper design for the front view, Freedom float, for the opera "The Mother of Us All"
Robert Indiana: Designs for Virgil Thomson’s “The Mother of Us All”
Galerie Denise René New York May 1–29, 1976
Decade: Autoportrait 1965, a 72 inch square painting with a red ground. A circle containing a blue decagon dominates the canvas. In the center of the circle is a large red and white numeral one. Painted on top of the one is a red and white star, and on top of the star is a red, white, and blue numeral five. Text, arrows and numbers are painted in the spaces between the arms of the stars. On the right side Washington is painted in red letters, with a red arrow painted underneath the letters H and I. Below the last N is a white arrow, and below that the number 72, painted in red. Indiana is painted in white at the bottom of the circle, with a white five containing a blue six above. The words "Chief" and "Spring" are painted in red in the left side of the circle, and a white arrow is painted to the right of the word "spring."
34th Biennial Exhibition of Contemporary American Painting
Corcoran Gallery of Art Washington, D.C. February 22–April 6, 1975
Poster for the inauguration of the Hirshhorn Museum and Sculpture Garden
Inaugural Exhibition
Hirshhorn Museum and Sculpture Garden Washington, D.C. October 4, 1974–September 15, 1975
Cover of the exhibition catalogue for American Pop Art, at the Whitney Museum of American Art
American Pop Art
Whitney Museum of American Art New York April 6–June 16, 1974
Nine Artists: Coenties Slip
Nine Artists: Coenties Slip
Whitney Museum of American Art, Downtown Branch New York January 10–February 14, 1974
Poster for the Colby College Art Museum opening Museum designed by Indiana and featuring his ART image
Opening Exhibition of the New Museum
Colby College Art Museum Waterville, Maine September 16–November 3, 1973
Installation view of Indiana’s solo exhibition at Galerie Denise René in New York; left to right: LOVE (1966), The Louisiana Purchase Variation (1972), ONE (1972), ART (1972), ART (1972), and, on the rear right wall, part of the Decade Autoportrait series covering the years 1961 through 1965 
Robert Indiana: New Paintings and Sculpture
Galerie Denise René New York November 22–December 30, 1972
Poster for the exhibition Amerikansk Kunst 1950-70
Amerikansk Kunst, 1950–70
Louisiana Museum Humlebæk, Denmark September 11–October 24, 1971
Cover of brochure for the exhibition Seven Outside
Seven Outside
Indianapolis Museum of Art Indianapolis October 25, 1970–January 3, 1971
Red, white and blue cover for exhibition catalogue of American Art since 1960
American Art since 1960
Princeton University Art Museum Princeton, New Jersey May 6–27, 1970
Cover of the exhibition catalogue for String and Rope - white rope spells out the exhibition's title against a black background
String and Rope
Sidney Janis Gallery New York January 7–January 31, 1970
Black and white cover of the exhibition catalogue for Robert Indiana: Graphics. A star is surrounded by a ring with the stenciled text "Indiana Graphics."
Robert Indiana: Graphics
St. Mary’s College, University of Notre Dame Notre Dame, Indiana June 12–July 6, 1969
Installation view of In Honor of Martin Luther King Jr at the Museum of Modern Art
In Honor of Martin Luther King, Jr.
Museum of Modern Art New York October 31–November 3, 1968
Installation view, Documenta 4, Kassel, Germany, June 27–October 6, 1968. Left to right, Tom Wesselman’s Great American Nude No. 98 (1967) and Mouth No. 15 (1968) and Indiana’s LOVE Wall (1966), with the panels hung incorrectly
Documenta 4: Internationale Ausstellung
Kassel, Germany June 27–October 6, 1968
Poster for 1968 Robert Indiana solo exhibition at the ICA Philadelphia, the Marion Koogler McNay Art Institute, San Antonio, and the Herron Museum of Art, Indianapolis
Robert Indiana
Institute of Contemporary Art University of Pennsylvania, Philadelphia April 17–May 27, 1968
Cover to Homage to Marilyn Monroe exhibition catalogue
Homage to Marilyn Monroe
Sidney Janis Gallery New York December 6–30, 1967
Poster for the Pittsburgh International Exhibition of Contemporary Painting and Sculpture 1967
Pittsburgh International Exhibition of Contemporary Painting and Sculpture
Carnegie Museum of Art Pittsburgh October 27, 1967–January 7, 1968
Cover of the exhibition catalogue for the Sao Paulo 9
São Paulo 9—United States of America: Edward Hopper [and] Environment U.S.A.: 1957–1967
Museu de Arte Moderna São Paulo September 22, 1967–January 8, 1968
Installation view of The Cardinal Numbers (1966), hung vertically, in the American Pavilion, at Expo ’67 in Montreal; numbers One through Five are visible
American Painting Now
American Pavilion, International and Universal Exposition Montreal April 28–October 27, 1967
Opening invitation for the Robert Indiana exhibition at the Galleria Christian Stein
Robert Indiana
Galleria Christian Stein Turin, Italy March 8–April 1967
A beige painting with the title, Louisiana, painted in white stenciled letters across the center bottom edge of the canvas. Above the title and dominating the canvas is a large circle consisting of a pink image of the state of Louisiana in the middle, with "The Fair City Bogalusa" shown on the map. Around this image is a white ring with stenciled red text surrounded by a beige ring and another white ring with brown stenciled text. The text reads, starting in the outer ring, "Just as in the anatomy of man every nation," and in the inner ring "must have its hind part."
Robert Indiana
Dayton's Gallery 12 Minneapolis September 27–October 22, 1966
Page from the brochure for the exhibition Robert Indiana: Number Paintings at Studio 7 at the Württembergischer Kunstverein, Stuttgart, Germany, featuring reproductions of the paintings One through Zero.
Robert Indiana: Number Paintings at Studio 7
Württembergischer Kunstverein Stuttgart, Germany August 5–28, 1966
Poster for Robert Indiana: Number Paintings exhibition at the Museum Haus Lange Krefeld
Robert Indiana: Number Paintings
Museum Haus Lange Krefeld Krefeld, Germany June 11–July 24, 1966
Poster for 1966 Robert Indiana show at the Stable Gallery, with a green LOVE against a blue ground
Robert Indiana
Stable Gallery New York May 3–28, 1966
Robert Indiana exhibition poster, with the numbers one, nine, eight, and four, each in a circle.
Robert Indiana
Stedelijk Van Abbemuseum Eindhoven, the Netherlands April 30–June 5, 1966
A black painting dominated by a red numeral eight within a brown circle with a blue outline. Below the circe the work's title, "Eight," is painted in red letters.
Robert Indiana: Number Paintings
Galerie Schmela Düsseldorf, Germany March 4–31, 1966
Robert Indiana's The Electric EAT being installed for the Exhibition Art Turned On, at the Institute of Contemporary Art, Boston, 1965
Art Turned On
Institute of Contemporary Art Boston December 10, 1965–January 30, 1966
Cover of Whitney 1965 Annual Exhibition of Contemporary American Painting catalogue
1965 Annual Exhibition of Contemporary American Painting
Whitney Museum of American Art New York December 8, 1965–January 30, 1966
A painting titled God Is a Lily of the Valley, with a large blue circle against a red background. Within the circle are four other circles enclosing text around a white outer ring. The text reads "He is a star," "He is a king," "He is a ruby," and "He is a tiger." A white ring around the larger circle contains red stenciled text that reads "God is a lily of the valley. He can do everything but fail."
Word and Image
Solomon R. Guggenheim Museum New York December 8, 1965–January 2, 1966
A red painting titled "The Calumet." A large circle containing seven smaller circles dominates the canvas. The seven smaller circles each hold an orange star, and are surrounded by the names of different Native American tribes painted in red stenciled letters in an outer yellow ring. A yellow ring encloses the large circle, and contains the red stenciled text "On the mountains of the prairie Gitche Manito the mighty called the tribes of men together."
The White House Festival of the Arts
The White House Washington, D.C. June 14–15, 1965
A blue painting dominated by a red numeral one within a green circle with a white outline. Below the circe the painting's title, "One," is painted in red letters.
Robert Indiana
Rolf Nelson Gallery Los Angeles May 10–June 5, 1965
Poster for The 29th Biennial Exhibition of Contemporary American Painting
29th Biennial Exhibition of Contemporary American Painting
Corcoran Gallery of Art Washington, D.C. February 26–April 18, 1965
A gray canvas dominated by a white numeral zero within a circle with a white outline. Below the circe the work's title, "Zero," is painted in white letters.
Group Zero
Institute of Contemporary Art University of Pennsylvania, Philadelphia October 30–December 11, 1964
Cover of Nieuwe Realisten exhibition catalogue
Nieuwe Realisten
Gemeentemuseum Den Haag The Hague, the Netherlands June 24–August 30, 1964
Poster for Robert Indiana New Art exhibition held at the Stable Gallery, New York
Robert Indiana: New Art
Stable Gallery New York May 12–30, 1964
The Black Yield Brother III, a black diamond shaped painting containing four black circles with a red vertical band surrounded by a yellow ring containing black text and six small black stars. The text in each ring reads, starting a top and going clockwise, "Yield Sister," "Yield Father," "Yield Brother," and "Yield Mother."
Artists for CORE: Third Annual Art Exhibition and Sale
Gallery of American Federation of Arts New York May 6–16, 1964
Black and white installation view of Robert Indiana's EAT sculpture at the New York World’s Fair
New York World’s Fair
Theaterama Queens, New York April 22–October 18, 1964, and April 21–October 17, 1965
Cover of Painting and Sculpture of a Decade, 54–64 exhibition catalogue
Painting and Sculpture of a Decade, 54–64
Tate Gallery London April 22–June 28, 1964
Black and gold cover for the catalogue of the exhibition New Art, with the word "New" above the word "Art." Each black letter is in an individual gold circle.
The New Art
Davison Art Center, Wesleyan University Middletown, Connecticut March 1–22, 1964
Cover Annual Exhibition 1963: Contemporary American Painting exhibition catalogue
Annual Exhibition 1963: Contemporary American Painting
Whitney Museum of American Art New York December 11, 1963–February 2, 1964
Installation view of Signs of the Times Three: Paintings by Twelve Contemporary Pop Artists at the Des Moines Art Center, Iowa, with Indiana's painting "Polygon: Nonagon"
Signs of the Times Three: Paintings by Twelve Contemporary Pop Artists
Des Moines Art Center Des Moines, Iowa December 6, 1963–January 19, 1964
God Is a Lily of the Valley, a painting with a large circle around four smaller circles on a green background. Each contains green stenciled text in a white ring. The outer circles reads "God is a lily of the valley. He can do everything but fail. The smaller circles read "He is blossom," "He is stamen," "He is root," and "He is pistil."
An American Viewpoint
Contemporary Arts Center Cincinnati December 4, 1963–January 7, 1964
A painting with a black ground and its title, "The Rebecca," painted in white stenciled letters across the bottom of the canvas. Above the text is a large circle, at the center of which is a blue eight within a white ring with a the black text "Port of New York," within a red compass rose within a blue circle. Surrounding this is another white ring, containing the text, in black, "The American Slave Company."
Richard Stankiewicz, Robert Indiana: An Exhibition of Recent Sculptures and Paintings
Walker Art Center Minneapolis October 22–November 24, 1963
A painting with a red X against a black ground. On top of the X is a large blue circle containing four yellow circles each with a black peace sign. The work's title, "Yield Brother," appears in blue stenciled letters across the bottom of the canvas.
International Exhibition and Sale of Works of Art in Aid of the Bertrand Russell Peace Foundation
Woburn Abbey Northampton, United Kingdom October 27–November 3, 1963
Cover of Dunn International exhibition catalogue
Dunn International: An Exhibition of Contemporary Painting
Beaverbrook Art Gallery Fredericton, New Brunswick, Canada September 7–October 6, 1963
A banner depicting a stylized version of the American flag. The ground of the banner consists of 13 red and white stripes. In the center of the banner is a blue circle with a white outer band, containing 51 white stars.
Banners
Graham Gallery New York June 4–28, 1963
Installation view of the exhibition Americans 1963 with Robert Indiana's paintings The X-5, 1963, and The Black Diamond American Dream #2, 1962
Americans 1963
Museum of Modern Art New York May 22–August 18, 1963
A diamond shaped painting with four numbers, each within a polygon of the corresponding number of sides. In the upper corner is a red nine within a blue nonagon; in the right side is a yellow eight within a red octagon, in the bottom is an orange seven within a magenta heptagon, and in the left is red six within a green hexagon.
De A à Z 1963: 31 peintres américains choisis par the Art Institute of Chicago
Centre Culturel Américain Paris May 10–June 20, 1963
Cuba, a sculpture consisting of a wooden beam with a haunched tenon, standing on a wooden base. The work's title, Cuba, is painted in red letters across the bottom of the plank. Above it is a wooden peg, and to each side is an iron wheel. A green star in a white circle is found in the upper half of the sculpture, and above this the top part of the sculpture, including the tenon, is painted in blue and white vertical stripes.
Assemblage
Andrew Dickson White Museum of Art Cornell University, Ithaca, New York January 31–February 21, 1963
Cover of the 66th American Annual Exhibition: Directions in Contemporary Painting and Sculpture exhibition catalogue
66th American Annual Exhibition: Directions in Contemporary Painting and Sculpture
Art Institute of Chicago Chicago January 11–February 10, 1963
Exhibition announcement for Stock up for the Holidays at Pace Gallery, featuring Santa drinking a Coca Cola
Stock Up for the Holidays: An Anthology of Pop Art
Pace Gallery Boston December 10, 1962–January 2, 1963
Cover of the exhibition catalogue for the New Realists exhibition at the Sidney Janis Gallery, 1962
International Exhibition of the New Realists
Sidney Janis Gallery New York October 31–December 1, 1962
Stable, a black painting dominated by a white star within a white ring containing the black stenciled text "Stable 16 October 62." "Indiana" is painted in white stenciled letters across the bottom of the painting.
Robert Indiana
Stable Gallery New York October 16–November 3, 1962
A small canvas dominated by a green field of color. The bottom quarter of the canvas contains the painting's title, Grass, in green stenciled letters against the white canvas.
Indiana / Natkin
Stubbing and Greenfield Gallery Mamaroneck, New York March 24–April 14, 1962
Installation view of Penthouse Exhibition: Sculpture at the Museum of Modern Art, with Indiana's sculpture Law visible second from the right
Penthouse Exhibition: Sculpture
Museum of Modern Art New York February 26–April 16, 1962
Cover of The Art of Assemblage exhibition catalogue
The Art of Assemblage
Museum of Modern Art New York October 2–November 12, 1961
Announcement for the Indiana Forakis exhibition at the David Anderson Gallery
Indiana / Forakis
David Anderson Gallery New York April 1–13, 1961
Flyer for the exhibition Premiums: Stephen Durkee, Robert Indiana, and Richard Smith at Paul Sanasardo's Studio for Dance in New York
Premiums: Stephen Durkee, Robert Indiana, and Richard Smith
Studio for Dance New York March 25–April 22, 1961
New Media—New Forms I
New Media—New Forms I
Martha Jackson Gallery New York June 6–24, 1960