Each succeeding president of the Guild attempted, with the approval of his board, to get the finest professional juries for their shows, alternating one man juries with two and three man juries, in order to present exhibits demonstrating varying philosophies in art. There was a strong desire among many to encourage the Guild to become even more selective in its membership acceptances and in its shows, while at the same time offering more opportunities of exposure of members' works.
     On April 26, 1948, an emergency meeting of the Guild was held because the Fine Arts Society was selling the Sunset Blvd. Gallery and the Guild discussed applying for space in Spanish Village. At the Guild meeting on October 2, 1948, Mr. Poland stated that he would consider giving the Guild space in the basement of the new wing of the Gallery. On December 12, 1948, Mr. Poland told the Guild that space in the new wing is unavailable and they should consider moving to Spanish Village.
     Spanish Village was used as a military barracks during the war, but after the war it fell into disrepair and neglect. The local artists attempted to reclaim it, but city officials decided to charge exorbitant rental for the spaces. After much more haggling the artists went back into the Village and resumed their activities. In a letter to the City Council dated March 4, 1948 Fred Hocks wrote:

     "The current controversy between your Park Commission and the artists of the Spanish Village Art Center reflects the all too prevalent attitude of the city official versus a minority group, which functions in an intangible, yet a very positive way, to make our community a gracious, more amenable place to live.
     I wonder if you as city fathers are aware of the many people who come to our city and find a lack of the cultural advantages, so much better integrated into the city life in other Pacific Coast cities. I come in contact, as an artist, with many new comers to our beautiful city who are impressed with the climatic and geographic beauties of San Diego, yet find a lack of the graciousness and intimacy only an artist can give. Yes, we have our Art Gallery in the Park with its fine collection of dead masters. But what about the living? Most of these old masters worked in an era where art was recognized as the prime source that expressed the ideals and hopes of the time. The artist was employed by the community to beautify the communal environment.
     I understand that in our busy lives where emphasis is placed on trade expansion, the accumulation of wealth, and other material pursuits, art is tolerated only as an escape, a diversion from the more important material aspects of living. The artist is held impractical. Not long ago the same attitude existed toward the scientist, until the knowledge he exposed about nature's laws was put to work by lesser men and now serves very important functions in our material life.
     Have you ever seriously considered what the artist (the live contemporary artist) can, if given the opportunity, contribute to life? You, as city fathers should feel the responsibility to bring to your constituents the contribution of the artist. I feel this responsibility toward my fellow men, and it's in this spirit that I urge you to take steps toward the practical solution to the reoccupation of the Spanish Village…"

     On May 3, 1948, the San Diego Union reported that the painting "Desert Sunshine and Shadow" by Charles A. Small won a plurality among gallery goers who had a chance to vote in the San Diego Art Guild show.
     On November 7, 1948 the minutes of the board meeting had this item. "There was a discussion on current welfare problems. A motion was carried to add two additional members to the Gift and Welfare Committee to assist the Committee keep informed regarding members ill or in need; to arrange friendly personal contacts with cheer and such aid as possible to give advise regarding pensions etc., etc…."

     The Guild and the Allied Craftsmen held Christmas show in the Fine Arts Gallery in 1948. The Sunset Gallery was sold by the Fine Arts Society to furnish funds for its new wing construction.

     On January 22, 1949 this note was in the Board meeting minutes. "The Board incorporated a new By-law establishing a permanent Welfare Committee of the Guild. Mrs. Churchman as chairman of the now legal new Committee reported the Welfare Fund as standing at $26.50 with a $25 loan out-standing."

     On January 28, 1949 this line was written in the minutes. "The establishing of a photographic department in the Guild was discussed at some length + finally voted down by a considerable majority."

     On March 6, 1949, the Guild show opened with an innovative tea. Decorations for the reception included burlap tablecloths and colorful gourds cut out for candles. Tiny white onions and pheasant feathers were also used by Robert Kovacic, the designer. 94 works were selected out of 175 entries.
     The Art Guild watercolor show was held in May with another Salon de Refuses again held in the Spanish Village Guild gallery. Other Guild held shows in its Spanish Village Gallery included the Alpha Beta Club of Art from Oceanside and Carlsbad.
     At the board meeting on February 20, 1949, President John Dirks stated that the Guild is the Largest, Strongest and most powerful of the city art groups. He wished to strengthen the membership by allowing outstanding artists and students to enter the Guild foregoing former admittance requirements. The Board unanimously approved. He also stated that the Guild had never been asked to exhibit by any city museum or university outside of San Diego and that Mr. Poland's cooperation in achieving inter-urban exchange exhibitions can be counted on. He also expressed that a larger than one juror system made a more competent and logical system. The Board approved a three-man jury for their March Exhibition.
     Jean Swiggett in an oral interview recorded by the San Diego Historical Society stated that John Dirks invited him to join the Art Guild and said he was good enough to enter without having to submit work to the board, which was the procedure. " I remember that at least one young man on the board was quite unhappy that he didn't have a chance to say whether or not I should be a member of the guild. He would have voted yes, he said, but he wanted the opportunity of judging."
     On September 18, 1949, after accepting artists into the Guild without going through the regular channels, a policy which started on February 20, with Jean Swiggett and unanimously approving the policy, the Guild decided that future applicants have to go through the regular credentials committee, etc. Also written in the minutes of that meeting, "Mr. Dirks mentioned the possibility that the Guild may become divided into a professional and amateur organization. Exhibitions of both types of work would be hung thus preventing an inharmonious feeling within the Guild."

     John Dirks related in an oral interview recorded by the San Diego Historical Society: "First time I was president, the only time I was President of the Art Guild, was a very stormy year. The Art Guild at one time was comprised essentially of what we would call "Sunday painters," but some of them were good… Most of them were what we would call "copiers of nature," but they weren't super-realist like the movement of today is. They were naturalists. And we had a big vote to determine which group would be in power in the Art Guild, the so-called "abstract" group or the "Sunday painters." Actually the vote came out that the "abstract" artists got control on the board and the "Sunday painters" had to drop out. There was real strife and almost suicide attempts by some of the members who were in deep shock that… the Art Guild was so tumultuous."
     Recently, John spoke about how the dispute between the moderns and the conservatives was a "war" and the artists razed each other. When it came to a head for control over the direction the Guild was to take, the vote was held. The shock of the moderns winning the vote caused many traditional artists to drop out of the Guild in protest and it was Isabel Churchman, one of the founders of Los Surenos, who was so upset, that she slashed her wrists. The Guild dispute may not have been the only cause for such drastic action, but may have served as the catalyst.

     On January 26, 1950 at their annual meeting, the Guild celebrated its 35th anniversary with dinner, art films, and music honoring its charter members, at the House of Hospitality in Balboa Park at 6:30 pm.
     Mary Volkmann wrote about the occasion: "At Mr. Dirk's invitation, Dr. Poland made a short address, stressing the everlasting youth of a progressive Art Guild - despite its 35 years. He remembered the 'aliveness' of the fine artists of the early days of the Guild, he said, and was keenly aware of the same trait in the present group, whose policy he approved - the sound policy of making no false cleavages in Art - recognizing all good art and only good art as opposed to bad…
     Mrs. Diamond outlined the early career of the Art Guild, starting with the initial meeting in 1915, one of whose members, Mrs. Sarah Truax, was the especially honored guest of the evening. Other early members were present and were asked to stand up to receive a special ovation. Mrs. Diamond pointed out that it was from these artists and their contemporaries that the Fine Arts Society of San Diego grew - to assume its present important position if the life of the city, to build up the splendid collections in the Fine Arts Gallery, and to foster and uphold the Art Guild as one of its most important branches - dependent on it and all important to it…."

     The celebration was followed by the business meeting to elect officers for the following year. Belle Baranceanu was elected president.
     The Guild worked with the Adult Education division of the San Diego City Schools and held art classes in the Fine Arts Gallery.
     The Guild had 290 members in 1950. The Guild held four exhibitions a year at the gallery at that time.
     As recorded in the minutes of the Guild meeting on February 5, 1950, it was suggested that the Fine Arts Society be asked to make a place on their board for a representative of the Art Guild. Dr. Poland offered to assist the Guild in the reopening of the Sunset Gallery. The Guild however, was unable to accept his kind offer and asked that the person, who made the offer of the financial gift, be asked to start the building wing of the gallery instead. The studio that the Guild had held in Spanish Village was turned over to a Guild member who needed the working space.
     Dr. Poland later announced that Eve Gilchrest, who was also a member of the board of trustees, became the official representative for the Guild.
     In April 1950, the first San Diego Art Guild Bulletin was published.
     Reginald Poland was retired from his position as Director of the Fine Arts Gallery in 1950 under quite a bit of controversy. He had fallen out of favor, by objecting to the Putnam sisters' donations of what he believed was unacceptable art. Those paintings were purchased by the Putnam sisters from a Los Angeles art dealer, who had led them to believe that they were important European masterpieces. Dr. Poland would not allow those paintings to become part of the collection. Being at odds with two of the Gallery's major benefactors, he was asked to resign. It created a great deal of bad press and many of Dr. Poland's supporters were outraged. He gracefully resigned and was replaced by the Assistant Director Thomas Robertson.
     On July 2, 1950 at the Guild board meeting the Churchman's were asked to give their puppet show at the upcoming Guild picnic to be held in honor of Dr. Poland. Dr. and Mrs. Poland were very grateful for this outpouring of support.
     Dr. Poland was one of the greatest champions for the artists ever to be involved with the Guild and Museum.

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