Because the Hopi and other tribes have voiced their concerns more recently about photographs depicting religious ceremonies, the tribal nation should be contacted before they are used.

[9] In 1915-16 two of his sculptural commissions were revealed: the bronze memorial tablet with the profile of the late Archbishop Patrick W. Riordan for the Knights of Columbus and the Cervantes Monument in San Francisco's Golden Gate Park.

In 1921, the Mora family relocated to Carmel-by-the-Sea, California, the largest art colony on the West Coast, making it their primary residence.

He constructed a Craftsman-style home, which is located on the west side of San Carlos Street, the third house south of 1st Avenue.

[12][13] Mora received a commission for the bronze and travertine Cenotaph, for Father Junípero Serra in the Memorial Chapel at the west end of Mission Carmel.

In 1937, Stanton was the architect for the Monterey County Courthouse, which incorporated Mora's bas-relief panels, column caps, and figurative heads on both the building's exterior and its interior courtyard.

[22] On July 22, 1922, for the opening day of the Carmel Woods subdivision, Mora had carved and painted a wooded statue of Padre Junípero Serra, which was installed within a small wooden shrine, surrounded by plants and a pair of wooden benches at the entrance to the development, at the intersection of Camino del Monte and Alta Avenue.

During this period he also illustrated a number of books, made large murals, and published charts, maps (cartes) and diagrams of the West and Western themes.

In 1939, a Works Progress Administration project was completed, with Mora bas-relief sculpture adorning the King City High School Auditorium building.

Five years later in the adjoining large studios he completed his massive diorama, Discovery of the San Francisco Bay by Portola, for the California Pavilion at the 1939-40 Golden Gate International Exposition on Treasure Island.

Mora made three large interior dairy murals above a soda fountain (no longer present) and a sculptured a metal lamp in the shape of a cowbell that still hangs above the buildings front door.

He also designed the menus, Christmas cards, and milk bottles, with these animal characterizations, and a cow that served as the logo.

The Santa Rosa Republican described Mora's work with an article having the title: "Carmel's Prosaic Dairy is Art.