* 10 Years: One Foot After Another
For their tenth birthday, Mark Woolley has invited about four million artists (that's more than the city of Portland!) to participate in a group show described as "an ever changing grid of square gems." 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. Mark Woolley Gallery, 120 NW 9th Suite 210, 224-5475, Through January 31

Bigfoot and The London Police
We're beginning to suspect that Bigfoot and The London Police might not be the artist's given names, but it makes no difference as Gallery Bink will be hosting their oddly charming fusions of graffiti, graphic design, and fine art all month regardless of their deceptive monikers. Gallery Bink, 1416 E. Burnside, 233-8866, Through December

Innocuously disguised as storybook illustrations from the 1950s, the paintings of Lyn Nance-Sasser are intelligent and well-crafted scenes of impending doom. While innocent tikes take wheelbarrow rides with puppies and play with toy rockets, alligators, tornadoes, and dynamite lurk around every corner. Very fun stuff. Basil Hallward Gallery at Powell's City of Books, 1005 W Burnside St, 228-4651

The always fun Gallery 500 presents a show of artists who present "a unique visual language to define their own reality." That sounds like it covers pretty much everything, and sure enough the artists-Katherine Atwood, Evertt Beidler, Ariel Brice, Claire Flint, and Morgan Law-have used every medium on the map, from painting to sculpture to mixed media. Gallery 500, 420 SW Washington, Suite 500, 223-3951, through Dec.

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

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

Michael Olfert's photographic technique of turning mundane objects into vibrant prints that look like paintings has been done a lot, but Olfert does it well, with a focus on the eerie pipes and cables that adorn cargo freighters. As an added bonus, most of the baristas who work at this particular Torrefazione are pretty hot. Torrefazione Italia, 838 NW 23rd, Through Dec 28

Paintings of Clouds
The itsy bitsy Lovelake Gallery presents new works by Timothy Scott Dalbow, whose "paintings of clouds" look more like murky forest fires and various other natural disasters. Lovelake, 1720 NW Lovejoy #107, 939 2255, Through Jan 2

This group photography exhibition examines the relationships between humans and their man-made surroundings through photos of global travels, people wearing masks, and small details like seating booths and coffee cups. Pacific Switchboard, 4637 N Albina, 233-2787, Through Jan. 4

* Shift
See review this issue. Elizabeth Leach Gallery, 207 SW Pine St, 224-0521, Through Jan 3

The Kill Zone
In northeastern Oregon, on land where the Umatilla Indian Tribe hunts, fishes, and gathers medicinal plants, the US government has stockpiled decades' worth of nerve gas, mustard agents, arsenic, and hundreds of other deadly chemical agents. For extra comfort, the storage depot is located downwind of the Hanford Nuclear Power plant. This group show features photos, paintings, and installations about the area, as well as Umatill, a documentary film about the depot. Orlo Exhibition Space, 2516 NW 29th, Bldg 9, 242-1047, Through Jan. 23

* 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. Wieden + Kennedy Building, 224 NW 13th Ave, 242-1419, Through Jan. 24

Wax Works
A painting exhibit by the quirky Santa Barbara artist Kate Phillips with topless Victorian-looking ladies swatting their own heads with a tennis rackets, and other oddities. Colosso, through Jan 1

* 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

* Winter Wonderland
Motel continues its run of quirky and charming shows of illustration-based exhibitions with Winter Wonderland, a group show with plenty of snowmen, snow flakes, and snow angels. Artists include Beka Held, Kim Gilbert, Kate Towers, Souther Salazar, and Jen Corace, who's dazzling snow angel piece recently graced the cover of a little paper called the Portland Mercury. Motel, NW Couch between 5 & 6, Through Dec.

* Mark Takamichi Miller
Miller's seductive, goopy paintings are derived from people's snapshots which he gaffes from local Costcos and faithfully renders in oil paint. Pulliam Deffenbaugh, 522 NW 12th Ave, 228-6665, Through Dec 27

Tom Jimison & Oscar Pintor
Two atmospheric photographers sound off in very different atmospheres. Jimison captures rural small towns in his exhibit Vanishing Structures of Tennessee and the American South. Pintor does kind of the same thing, but in Argentina. Blue Sky Photography Gallery, 1231 NW Hoyt St, 225-0210, Through Dec 27

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