Meanwhile, the new campus east of Chula Vista on Otay Lakes Road was completed and we prepared to start classes there in September of 1964. Well known local Sculptor John Dewitt Clark joined the full time art faculty, who had been teaching at Hilltop High School in Chula Vista.

The new art building had three studios, one lecture room, one dark room, one faculty work room and one large open space designed to be the art faculty offices. The decision was made by the art faculty to convert the faculty office space to a temporary art gallery and the faculty work room to faculty office space. The walls were painted white and other changes made for its continued role as an environment to show mostly contemporary painting and sculpture.

The inaugural show in October of 1964 was titled "Teeny Weenie Art" and must have been a group show of a tiny kind. The "Film As Art" programs were conducted in room 801 following the receptions in the art gallery.

The day before the formal dedication of the new college campus, in December of 1964, John Roger's sculpture "All Day Sucker" was removed from the library by someone in the administration because they thought it might be offensive to the public. The piece represented a child whose body had been deformed by thalidomide, a medication taken by thousands of pregnant women from 1957 to 1961 to combat morning sickness and insomnia. About 10,000 children in the world suffered severe malformities. A piece by Don Hughes was removed from the gallery the same day because it was thought to be phallic in nature.

I organized a much larger invitational exhibition to follow, titled "Polychrome Sculpture," most of which was installed in the large foyer of the Student Union nearby. There were numerous artists from Los Angeles in the show including Judy Gerowitz, now Judy Chicago, Ed Carrillo, Lloyd Hamrol (Judy's husband), John Manno, Kim Stussy and a piece by Claes Oldenburg loaned by the Dwan Gallery. Several colorful folk art pieces were loaned for the show by the Art Center in La Jolla. There were favorable reviews in San Diego Magazine and Art Forum in New York City.