Amy Archer
Using over 700 color photographs as her starting point, Amy Archer whittled the batch down to 200 shots of life's minutae, which she then organized by color. Augen Gallery, 817 SW 2nd, 224-8182, closes Saturday

It's impossible to overstate how nice and classy the new PDX and Pulliam Deffenbaugh galleries are—from the New York-y entranceways, to the movable walls and pristine floors, these two look like they just stepped out of Yo MTV, Pimp My Gallery. PDX artists get their chance to shine in this group show featuring new work by the usual gallery suspects (Brad Adkins, Storm Tharp, James Lavadour, etc). Noteworthy, however, is the fact that the esteemed Tad Savinar has joined the PDX stable. PDX, 925 NW Flanders, 222-0063, Through Dec. 3

Mona Hatoum
While she began her career in video and performance, Lebanese-born British artist Mona Hatoum has since focused on installations and objects that fall somewhere between the minimalist and surrealist traditions. Of the works on display in Reed College's Cooley Gallery, these objects explore issues of the uncanny, in which the seemingly familiar is exposed as something quite other. The effect of the quotidian objects Hatoum recasts gain their power from a push-pull dynamic, in which the viewer is drawn in by a promise of safety, only to be driven away by a reality of violence and danger. Her work doesn't always make for the most pleasant viewing, but you won't be able to turn away. JOHN MOTLEY Cooley Gallery at Reed College, 3203 SE Woodstock, 777-7790, Through Dec 23

Tom Cramer Selected Works 1974-2005
The appeal of Cramer's gilded, carved-wood paintings has always eluded me, but his drawings and works on paper, many of which exist as studies for the aforementioned works, are fun and funky studies in inklines. Mark Woolley at the Wonder Ballroom, 128 NE Russell, closes Saturday

Ty Ennis
Growing up—especially emergence from adolescence—appears to be What It All Meant's chief preoccupation, communicated in the intimate, bedroom aesthetic of his understated drawings, which include lists and hopelessly naked pleas on lined notebook paper, and his emotionally myopic subjects, like Kool-Aid-stained Keds and "deadbeat dads." Not all of Ennis' drawings work. But enough meaning (and even a shred of narrative) materializes in the dozens of spare drawings here to make you think we'll see more of this cowboy a little on down the trail. JOHN MOTLEY New American Art Union, 922 SE Ankeny, 231-8294, closes Sunday