ground up, which included choosing where murals would go, designing the murals, and supervising the mural painting teams, which would consist of teenagers who were in trouble with the police. Members of the original Las Vistas Nuevas group were hired to help run Baca's multi-site program. This group would go on to paint more than 500 murals. In this new job she encountered her first problems with censorship. People in neighborhoods where murals were being created wanted to show all parts of life in their neighborhood, both the good and bad. The city, however, did not want any controversial subjects depicted in these murals. In one case, when the city objected to a mural that showed people struggling with police, they threatened to stop funding the program if Baca did not remove it. Baca said, "I really liked the idea that the work could not be owned by anyone. So, therefore it wasn't going to be interesting to the rich or to the wealthy, and it didn't have to meet the caveats of art that museums would be interested in. Rather than give in, she formed the Social and Public Art Resource Center (SPARC) in 1976 to continue funding the creation of murals in public. Baca's efforts to include community in her artistic processes make her unique to her time. Bringing youth together to create art left a lasting impression in Los Angeles, shifting Chicano/a culture. The involvement of poor youth of color in Baca's artistic processes changed the way white supremacist, capitalist, patriarchal culture perceived their place in society. Perhaps even more importantly, Baca's Citywide Mural Program strengthened community and gave people a sense of purpose. The World Wall and other projects In 1987 she began painting The World Wall: A Vision of the Future Without Fear, a painting that showed the world with no-violence. She believed the first step to world peace was imagining it, and she wanted artists from all over the world to help her paint it. She wanted it to be painted in panels so it could be moved around to different places. After years of planning and contributions made by artists from other countries, the painting had its debut in Finland in 1990. The idea was that when the panels traveled around the world each host country would add their own panel to the collection. Some of the countries included Russia, Israel/Palestine, Mexico, and