She initially worked at assisting institutions such as the Bishop Strachan School and the Volunteer Committee of the Art Gallery of Ontario in Toronto.
[3] Sculptors in the exhibition included, among others, Sorel Etrog, Anne Kahane, Robert Murray, Françoise Sullivan, Harold Town, and Walter Yarwood.
[9][10] Cameron appealed her conviction on charges of exposing "obscene pictures to public view"[7] all the way to the Supreme Court of Canada, but lost and closed her gallery.
In 1978, at the age of 55, after losing sight in her right eye, she began to make art propelled by the encouragement of Jungian analyst Fraser Boa.
As Joan Murray, the curator of the show wrote, these large idiosyncratic constructions in clay, papier-mâché and other materials (Cameron called them "assemblages") are an object lesson for artists who seek to pursue the theme of identity through the context of their work.
[16] A Canadian Art Magazine editor posited that the show was "studded throughout with raw truths, told directly and with verve".