* 10 Years: One Foot After Another
For their 10th birthday, Mark Woolley has invited about four million artists (that's more than the city of Portland!) to participate in a group show. We never imagined that another show would come along this year with more artists than the Modern Zoo, much less tucked away in the Pearl District. Yet, here it is, with each of the many, many artists representing with a 12-inch square piece of art for a constantly changing installation. Mark Woolley Gallery, 120 NW 9th Suite 210, 224-5475, Through January 31

Faulkner Short
An up-and-coming hotspot for local photographers, Tiny's presents works by Short, who shot them on a road trip from Portland to Detroit and back. Short's images of things like a lonely gas station, and an aerial shot of open umbrellas on a colorful street, have little stylistic or thematic integrity, but offer bold colors and crisp detail. Tiny's Coffee Shop, 1412 SE 12th, Jan 3 -30

* Blindsided
Innocuously disguised as storybook illustrations from the 1950s, the paintings of Lyn Nance-Sasser are intelligent and well-crafted scenes of impending doom. Innocent tikes take wheelbarrow rides with puppies and play with toy rockets as alligators and tornadoes lurk on the horizon. A man shares a scenic view with his beloved wife, who holds a lit stick of dynamite behind her back. Perhaps the exhibit's most impressive piece depicts each room of a house, illustrated with loving detail. "The remodeling's all done and the house is finally perfect," brags the proud owner. Meanwhile, a massive dam is breaking on the horizon, a deadly torrent of water rushing forth. Very fun stuff. Basil Hallward Gallery at Powell's City of Books, 1005 W Burnside St, 228-4651, through Jan 7

Deborah Morris merges age-old mediums of craftsmanship-fabric, pencil, needle, thread-with advancing technology. Her printer has been customed to actually print on fabric. What's next? A printer that weaves you an Oriental rug? Pushdot Studio, 833 NW 14th, 224-5925, Through Jan 30

* Flowers
OK, there's not a whole hell of a lot that you can say to hype a show of floral photography, except that the eclectic mix of artists will produce some surprising works. Among others, expect to see work by Lartique, Iturbide, Araki, and Metzner. What, no Mapplethorpe? SK Josefsberg, 403 NW 11 Ave, 241-9112, Through Jan. 10

Helen Frankenthaler: The Woodcuts
Helen Frankenthaler, in addition to being one of the hottest women in art history, was also one of the most undervalued painters on the American scene. This exhibition is the first exhibition ever to focus exclusively on her woodblock prints, which span thirty years and include over 70 works. Portland Art Museum, 1219 SW Park Ave, 226-2811, Through Feb. 15

Language As My Witness
This mixed media exhibit by Diane Jacobs incorporates handcrafted hats, bras, and underwear with responses that the artist gathered when she asked women "What was the worst name you have ever been called?" Despite the flat-footed feminist approach, the concept sounds more like a celebration of misogyny than an effort to move away from it. Oregon College of Art and Craft, 8245 SW Barnes Rd, 297-5544, Through Feb 8

* Romantic Landscape
James Lavadour, about whom we have no problem saying "best painter in the Northwest," returns with another sublime show of intense topographical abstractions. PDX, 604 NW 12th Ave, 222-0063, Through January 3

* Shift
The most literal interpretation of the "shift" notion implied by the title of the Elizabeth Leach Gallery's new color photography exhibit, comes courtesy of Harrell Fletcher. His four rolls of undeveloped Kodak film with names like "Thing on Shelves in My Parent's House," challenge the viewer to imagine what sort of prints might lay inside, and challenge potential buyers to make prints of their own. The act of slapping a $300 price tag on an utterly untouched roll of film is rather audacious, but then the idea of being the first person to play in the darkroom with a bona fide Whitney Biennial honoree's negatives is rather intriguing. Other facets of Shift range from tightly conceptual to fairly loosey-goosey. Jeremy Borsos has taken the addresses off envelopes received by random businesses and residences, then gone to those addresses and shot whatever's there. It's a cool premise in theory, but the ensuing depictions of suburban houses and minivans, while immaculate, also resemble your real estate agent's upcoming wall calendar. Meanwhile, across the room, Wiebke Loeper's crisp, gorgeous prints of lonely urban landscapes are disrupted only by two vibrant portraits of attractive women staring at the camera, spots of defiant humanity in a desolate world. Around the corner, the Mercury's own Chas Bowie represents, with a series of random, yet striking, and also huge fields of solid color broken by little bits of dazzling humor. My favorite includes a surfer's board reflecting the sun, a tiny flash of light cutting through the harsh void of a vast gray ocean. JWS Elizabeth Leach Gallery, 207 SW Pine St, 224-0521, Through Jan 3

* Unforeseen
Now that the neo-hyper-formalist Beau Monde tsunami of Pattern and Decoration painting and plasticky finish-fetish wankdom has been done to death, another painting spirit looms on the horizon, breathing life into the corpse of surrealism and bringing us scenes of gloom and Technicolor doom. Unforeseen: Four Painted Predictions is the final exhibition at PICA as we know it. After this show, the institution relinquishes its lease on the gallery and says good-bye to curator Stuart Horodner. The four artists in the exhibition range in age from 27 to 66 years, yet their painting sensibilities teeter on the apocalyptic and fantastic. Capsized submarines, suspended corpses of winged beasts, fantasies of being the last human on earth, dead zebras, weary fighter pilots, and Matta-inspired nuclear abstractions are all par for the course. The show-stealer comes from Portland veteran Henk Pander, whose Song of the Wild depicts the ruins of a grotesque diorama that has rotted away but remains gorgeously spotlighted against a twilight coastline. In the diorama, human skeletons ride the carcasses of winged hybrid beasts that are suspended in midair by thick brown ropes. Symbolic still-life metaphors such as a busted clock, a mangled tree trunk, and a skull litter the area. CB Wieden + Kennedy Building, 224 NW 13th Ave, 242-1419, Through Jan. 24

* Wet Mount
Wet Mount is no longer just fun sex play, it's also a new show of paintings by Megan Walsh. Walsh's bright and vibrant watercolors and gouaches from her recent show at Seaplane were attractive splashy abstractions. For her new show, there promises to be some great play with scale, including a large installation. Field, 328 NW Broadway #114, 503 810 4788, Through Jan 4