Numbers 1-0 is a public artwork by the American artist Robert Indiana, located at the Indianapolis Museum of Art (IMA), which is near downtown Indianapolis, Indiana. This series of sculptures is composed of 10 brightly painted numerical digits, each made of aluminum and set on its own base. Their construction took place at the former Lippincott Foundry in North Haven, Connecticut from 1980 to 1983. Description These ten objects are fabricated from sheets of cut and rolled aluminum into the forms of Arabic numerals, or “numbers.” Each number is 8' tall, 8' wide, and 4' deep, and weighs between 600 and 1000 lbs. Each number is painted with a two-color scheme: one color for the front and back sides, and then a separate color for the interior and exterior panels. The range of colors includes four shades of blue and red; three shades of green; two shades of orange, yellow, and white; and one shade of purple, grey, and black. The numbers are not exhibited in numerical order; they have been arranged by the artist to represent dates of personal significance. Each number is mounted onto a custom-fit aluminum base (resting on a center post) that rests on a square concrete block. All numbers are approximately the same total height and width, but vary in linear design depending on the shape of the number. The artist's name, year of production (varies from 1980 to 1983), copyright symbol, and the foundry mark (Lippincott) have been stamped into either the right or left side of each number. The sculpture's appeal and accessibility spring from the artist's use of everyday material—numbers, rich colors, and the typography of advertising. Though Indiana is best known as a Pop art artist, his color choices—vivid hues and contrasts between different surfaces—and how the numbers are arranged together—staggered, overlapping, nonlinear—reflect his interest in Op-Art. Historical information The numbers were conceived as a 1980 drawing made in commemoration of the 20th anniversary of Melvin Simon & Associates (now called Simon Property Group). Indiana accepted the commission to make the drawing specifically because it was attached to the creation of a series of corresponding, three-dimensional sculptures. At the time they were largest and most important commission of Indiana's career. They were made with the artist's stipulation that they eventually be donated to the IMA. Indiana's original concept was inspired by a 19th-century print “The Life and age of man, stages