Written in the January 18, 1988 minutes was the following:
     "MATHES GALLERY: show confirmed by Reesey Shaw, who will curate the invitational. The show will be held at the Mathes Center in Escondido April and May of 1988 with the opening April 8, reception 7-9pm."

     This exhibition was called "Ten from the San Diego Artists Guild."

     These notes from Tom Frankovich were in the February 1988 newsletter:
     "It's no secret that our Guild has been in trouble for many years. As mentioned in last month's newsletter, our exhibition opportunities at the Museum have dwindled. The Museum virtually budgets zilch for our once-a-year exhibition, plus, we as the Guild, are not permitted to make proposals directly to the corporate community for funding of our events.
     It seems that in an effort to satisfy the corporate mentality where bottom line is everything, we are losing something of much more importance, the very heart and soul of the Museum. People involved at many levels of the Museum have been stricken with a malaise that grows from futility.
     Don't misunderstand, I do not disdain strong business procedures, and I do want the best for the Museum. But I prefer to put people first -- particularly the people who make art. My concerns about art and artists are not merely those of a romanticist. I'm most concerned about exhibit censorship, by lack of logistic and monetary support.
     The Guild Board has numerous solid proposals on the table that would be important and most relevant to the contemporary art scene in Southern California -- and to the SDMA. With the exception of the Guild Annual Exhibition, the future of the scope and range of our shows that do not get seen because of lack of Museum support may be more telling than the ones that do.
     So let's hope for a miracle -- and at the same time let's create a better situation for ourselves. We must be responsible by turning the problems into challenges. We need to buttress our organization with strong community support from all directions. We need to communicate with all artists, community leaders and the public at large. It's time to get our message across. We have a collective voice that needs to be heard. We artists have an obligation to advise and develop recommendations for a more responsible Museum of Art. After all, we are the professionals society relies on for cultural advancement. The Board of Trustees has an important role to play, so too its administration, but we the artists can no longer be silent partners when it comes time to discuss cultural matters with the public. And, if necessary, we must assume a much larger responsibility in our roles as guardians and the conscience of the Museum. We are all volunteers for the sake of art. We stand firm in our conviction to help create the best Museum we can."

     These notes from retiring Artists Guild President, Tom Frankovich were in the May 1988 newsletter:
     "This last year has been one of new direction, of planning and progress for the Artists Guild. But it is just the beginning of a period of reestablishing the Guild in its rightful position as a founder and driving force of the Museum.
     When I first took office as Artist Guild President, I had one primary goal: to bring to light the inequities that have been inflicted on the Guild by the Museum's administration. For years the suppression of the rights of the Guild concerning cultural and humanitarian issues has prevailed. This Board has been endeavoring to break down those barriers. Slowly but surely, we are returning to a state of balance. As I see it we have only two choices: we can do nothing and remain isolated and disfranchised from the Museum; or, we can confront the problem with understanding and compassion and try to help the Museum Administration develop an increased sensitivity, particularly to the value the Guild brings to the Museum and to the community at large.
     The Guild Board is aware that, even though we all are unique individuals, we have a collective consciousness that impels a sense of unity. As an alliance of individual artists, we are the heirs of those who dedicated and steadfast pioneers who created the Artists Guild and helped found the Museum. It is our duty to carry on as best we can for those who come after. It is clear that the highest duty is handing future artists a strong, undiminished organization, thus enabling future generations to enjoy their rightful position as partners and, hopefully, contributing pioneers in the work of the SDMA….
     The Guild must continue to be a driving force at the Museum and in the community if we are to see the results of our efforts over the past year. We have the power. We must use it. I have heard a combined voice of strength and commitment, of responsibility and genuine concern about the condition of local artists and our future with the SDMA. We have, to some degree, helped to restructure the Museum's attitudes towards regional artists.
     There are subtle signs of an enlightened awareness at the Museum. Little by little, we have created a movement toward equity…. The love of art is what drives us onward. It is easy to become complacent when met with persistent resistance; therefore, it is all the more important to pursue ways to preserve what we have gained, and to strive for increased cooperation from the Museum Administration. As trustees of the future of our Guild, we must unite in preventing further encroachment upon our exhibits and continue to preserve the excellence of these public showcases for the work of San Diego's professional artists."

     The Guild sent out another questionnaire to its members. In July 1988 Tom Frankovich passed the results along to Joseph Hibben and Steve Brezzo:
     "In reading the above results, clearly the most important area for immediate action is the need for ongoing exhibition space at the Museum for San Diego artists. Therefore, we propose Gallery #1 as the Artists Guild Gallery for one and two person exhibitions on a continuing basis….
     We have in our Guild membership outstanding regional, national and international talent that should be tapped to help in the creation of relevant dialog between artist, Museum membership and the community at large.
     Another issue of primary importance, is the need to have both the Annual Guild Exhibition and the Open Annual Exhibition yearly. Both exhibitions should be free of charge, have more awards, and have catalogues, posters, invitations, banners and publicity prepared and distributed by the Museum, In addition, the Museum could help arrange traveling and/or exchange exhibits of these shows. These exhibitions would be a strong vehicle to promote the SDMA through a tour of major museums of interest.
     Nearly all members agreed it's time for accountability of the Museum to San Diego artists…
     Since the Artists Guild is not permitted to seek out its own underwriting, it must rely on support in this area for special programs by its own members or the Museum. The Museum support in this area has not been adequate. Sufficient funding of special Guild Exhibitions should be treated as any other major exhibition the Museum presents, including proper exhibition space for viewing, plus promotions and publications. This is mandatory to create equity with other programs and exhibitions. (Last year's Guild Exhibition was crowded into Galleries 1 and 2 creating a totally inadequate display for public viewing, and substituting a list for a catalogue gives viewers and artists alike, the idea that the Museum considers Guild events second rate).
     The history of the San Diego Museum of Art and the cultural vitality of our city is tied to the Artists Guild. We were the prime movers of the Museum's inception….
     The Artists Guild is unique to the Museum. We are both a guild and a committee. As a guild, the Museum is required to support the membership through exhibition opportunities and promotion of their work. As a committee, we serve and promote the Museum….
     The 250 member Artists Guild is dedicated to helping the Museum reach its potential as a world class cultural resource for the community. It is in this spirit that this report in submitted."

     Nothing came of these proposals prompting the following response. Charles Swank wrote this note to Tom Frankovich circa 1988:
     "I never write letters to express political concern but in this case I am inspired. I am responding to your notes in the last guild newsletter. I feel if the S.D. Museum doesn't support you (us) then why support them. I feel we should boycott the museum, cancel next year's show. I dropped out two years ago as well as a lot of other of my friends, wise up, quit fighting a losing battle and paint."

     (Note: The author was informed by Steve Beck-Von-Peccoz that at one time he had been told by Steve Brezzo that some Trustees had complained to him that they were upset because at the SDMA Board meetings Tom Frankovich refused to remove his hat during the proceedings. Although this is four-party hearsay, the author still found it an interesting aside.)

     On July 19, 1988 Sharon Hinckley, new President of the Guild wrote a letter to Steve Brezzo:
     "…My primary goal for the 1988-89 season is to establish a more harmonious relationship between the Artists Guild and the Museum, one that will enhance the stature and effectiveness of both…
     Lastly, I am eagerly awaiting word on the 'director's choice' permanent display area we discussed last January…"

     Sharon Hinckely wrote this President's Message in the August 1988 newsletter:
     "I have just returned from my first meeting as president of the Artists Guild. This year's board is a lively bunch, and I am anticipating an exciting year….
My primary goal is to establish a more harmonious relationship between the Artists Guild and the Museum. As the ancient Zen philosopher once said, 'the less friction, the easier the flow' (or something like that).
     I am still pursuing creating a permanent display area in the Museum and, last but not least, I plan to find out what happened to all of Tom's letter!"

     1987-1988 were more years of crisis with SDMA although President of the Board Joe Hibben helped as much as he could. The annual show was confined to a small space. Guild proposals were ignored. During the late 1980's the Guild tried to reestablish itself and it's relationship with the SDMA to its "rightful position". The SDMA helped the Guild by putting it back in the calendar, etc.
     Throughout its history the Guild graciously welcomed each new curator and director of the museum in its newsletter. Curators and other museum staff were spotlighted with interviews published in our newsletter.
     Martin Petersen, longtime curator of American Art was especially supportive of the Guild.
     The Guild continued to sponsor lectures by SDMA curators and other museum professionals and collectors.

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