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 25, 1962, Indiana recounts being woken up by Arthur Carr (an art collector, psychiatrist, and friend), and barely having enough time to wrap up The Great Reap for the Museum of Modern Art, where it was to be displayed in a Penthouse Exhibition. He notes that it was the painting that gallerist Allan Stone wanted.

Indiana then writes that photographer Eric Pollitzer came over and took pictures of his "poster painting" (Stable), and that he also asked him to photograph The Melville Triptych, The Black Diamond American Dream #2, The Red Diamond American Dream #3, and his unfinished construction. He notes that Alan (Groh, director of the Stable Gallery), had made it clear that the Stable had never been very keen on posters, but had acquiesced when he said that he would like to have one.

The page also includes a sketch of the construction Die, with a note indicating that its materials were wood, bone, and gesso.