on Modern Art, which included Marcel Duchamp, Frank Lloyd Wright, and Gregory Bateson. The roundtable aimed to expose “hidden assumptions” and to frame new questions about art. By the early 1950s San Francisco's North Beach had become the West Coast center of the Beat Movement, and music, poetry, and discourse were an intrinsic part of artists' lives. Collage artist Jess Collins renounced a career as a plutonium developer and enrolled at SFAI as a painting student. In 1953 he and his partner, poet Robert Duncan, along with painter Harry Jacobus, started the King Ubu Gallery, an important alternative space for art, poetry, and music. A distinctly Californian modern art soon emerged that fused abstraction, figuration, narrative, and jazz. SFAI faculty David Park, Elmer Bischoff, James Weeks, James Kelly, Frank Lobdell, and Richard Diebenkorn were now the leaders of the Bay Area Figurative Movement, informed by their experience of seeing local museum exhibitions of work by Edvard Munch, Max Beckmann, Edgar Degas, and Henri Toulouse-Lautrec. Students at the school, including David Simpson, William T. Wiley, Robert Hudson, William Allan, Joan Brown, Manuel Neri, Carlos Villa, and Wally Hedrick, continued the investigation of new ideas and new materials, many becoming the core of the Funk art movement. Renamed San Francisco Art Institute in 1961, SFAI rejected the distinction between fine and applied arts. SFAI stood at the forefront of recognizing an expanded vocabulary of art-making that hybridized many practices including performance, conceptual art, new media, graphic arts, typography, and political and social documentary. Students in the early to mid-1960s included artists Ronald Davis, Robert Graham, Forrest Myers, Leo Valledor, Michael Heizer, Ronnie Landfield, Peter Reginato, Gary Stephan, and John Duff and in the late 1960s Annie Leibovitz, who would soon begin photographing for Rolling Stone magazine; Paul McCarthy, well known for his performance and sculpture works; and Charles Bigelow, who would be among the first typographers to design fonts for computers. Alumni Ruth-Marion Baruch and Pirkle Jones documented the early days of the Black Panther Party in northern California. In 1969, a new addition to the building by Paffard Keatinge-Clay added of studio space, a large theater/lecture hall, an outdoor amphitheater, galleries, and a cafe. Installation art, video, music, and social activism continued to inform much of the work of faculty and students in the 1970s and 1980s. The faculty during this period included George Kuchar, Gunvor Nelson, Howard Fried, Paul Kos,