One of the medium's main advocates and teachers, Watts wrote about new music, experimenting with literary composition and journalism.
Together, they formed the Composers and Choreographers Theatre, "an entity that quickly grew into a nationally recognized venue for contemporary dance and music in New York City.
Before completing the degree requirements Watts took a leave of absence and taught Music at North Dakota Agricultural College in Fargo for a year (1956–57).
In 1958 (while studying with Harris) Watts began work on his Sonata for Piano, which was eventually given a Carnegie Hall premiere by David Del Tredici.
When his 1964 re-application to Cornell University was rejected, Watts rekindled his interest in journalism, taking a post as editor of the weekly Manhattan East News (1965–67).
The most significant drain on his time was the Composers Theatre; he and Laura worked tirelessly to obtain and maintain funding for its projects.
A July 1981 article in the New York Times shows a poster of the Watts/Foreman presentation Wallwork with a “Sold Out” sign printed across the center.
Not happening was the point of the concert, which was advertised—with ticket prices, date, time, and reservation telephone number— on posters all over New York City.
Newspaper writer Jack Anderson called the stunt “nutty and annoying” but said that “it does raise questions about the relationship between art and publicity.” Watts' last performed work (Time Coded Woman), was written for Lukas Foss and the Brooklyn Philharmonic’s “Meet the Moderns” series.
This setback apparently combined with his loss of the teaching post from the New School, which occurred at about that same time, to drive Watts into a depressed state, and he died three months later.