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The front of the Dog Eared Books store, at 900 Valencia Street, also had windows wrapped in art showing shelves and stacks of painted books. One column on the front of Dog Eared Books illustrated symbols from books. A king's crown, playing card suits, a curtained window, and a stool with a martini on it. An arrow by the stool pointed north. Below the stool was a winged snake wearing a crown. The border of the 20th Street side of the building was wrapped in a mural showing many used books on shelves. Titles and author names were painted on the spines of the books in the mural. Below the books was a line of glowing faces, each backed by angel wings.

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A closer view of the tiger's face. It looked fierce and powerful. Flowers and skulls decorated the wall just below the feet of the tiger. Another shark swam above the hammerhead. This upper shark wore sunglasses and a lip ring. Its mouth was open and ready to eat a glowing insect. The mural was painted on the side of the Pica Pica Restaurant and faced 15th Street. It was difficult to photograph because it was partly hidden behind parked cars. The mural itself was composed of many conflicting styles. Dan Plasma drew a tiger mural on this wall. Over time, other artists added to and covered it up. Dan Plasma returned and turned the cluttered mural into a war piece against the interlopers.

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A sign stood on the sidewalk just outside a tavern on Valencia Street in San Francisco. The sign read, "Open At [blank], Happy Hour til [blank], $[blank] off." The blank areas were available for the person in charge to chalk in the details. The price still displayed a painted over number 2 for "$2 Off." The time following the "til," had been covered in tape and later painted over with the same color as the background. On the whole, this sign was a great example of ambiguous information.

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An arrow was painted on the asphalt surface of a parking lot at Jessie M. Honeyman Memorial State Park. A new arrow was painted over an old arrow, where the first was offset from the second. The resulting effect was either that of an arrow and its echo, or of a 3D arrow. Or perhaps the arrow was traveling really fast.

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A store front was covered in plywood to hide interior construction. The plywood had in the past been painted black but now appeared weathered gray. Many stickers adorned the plywood. Some were torn and partly removed to make way for newer stickers. One new sticker whispered in sign language, "Fuck That Noise.". The other new sticker displayed the unhoused and downtrodden, and read in English, "We Are Not The Problem."

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An "Entrance" sign had been painted on the glass front window of a store. A gray curtain hung behind the sign, and part of a tree was reflected by the glass. Below that hand was a picture of a hand with one finger extended to indicate the direction in which the "Entrance" lay.

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The young artist, named Westley Williams, used a stick to draw a balloon shape into the dirt of a trail at Baker Bay Campground in Oregon. He then sketched a face inside the balloon and insured the smile was a lopsided one. The transient nature of this art insured that it would never exist again after this day.

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Above the front door of the "Columbus Café" mural was a large exhaust pipe. The front of the cafe is shown as drawn. A "Miller High Life" sign hung above the words "Columbus Cafe" painted on the window. Behind the window a waitress chatted with a family at a table by the window. Reflected in the window were 1977 cars and another cafe across the street. At the right hand side of the "Columbus Café" mural was an apartment building. Behind a door, with six panes of glass, a person in pajamas peered out.

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To the extreme right of the upper layer of the ramp, two blackbirds or crows flew through the nighttime sky among stars. The artist's signature read, "Rivera 2008." Above the signature a comet blazed across the mosaic night sky among mosaic stars. To the right of the hot air balloons flew a mosaic owl among mosaic stars. The "Taking The Scenic Route" Mosiac decorated a ramp at the end of a Plant Plaza in downtown Davis, California. Artist Mark Rivera created scenes of the farmlands that surrounded Davis, California. The lowest level of the ramp was decorated in a mosaic design that featured farmlands. Rows of crops were interspersed with grapes, water melons, and pumpkins.

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The "Splash" mural depicted three storm drains in the wall of a building. Those fake drains spilled colored paint on the silhouette of people painting. A closer view of the leftmost pipe revealed white highlights that formed the edge of the liquid falling out of the pipes. That same white highlight gave the falling paint the appearance of ripples. The signature of artist Kerry Rowland-Avrech was painted using blue paint amid the spilled orange paint. It read, "Kerry Rowland-Avrech 2012." A new sign erected by Natsoulas Studio identified the mural. It read: Kerry Rowland-Avrech and the Davis Mural Team Splash, 2012 natsoulas.com

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The "Hermandad" sculpture by Sergio Castillo Mandiola shown in context with the city of Sausalito, California behind it. That day was comfortably warm under a clear blue sky. The "Hermandad" sculpture by Sergio Castillo Mandiola shown in context with Gabrielson Park. The sculpture towered over Gabrielson Park. The "Hermandad" sculpture by Sergio Castillo Mandiola was large enough to tower dramatically over the small park. Beyond the park was a sailboat on Richardson Bay, and beyond that was Tiburon. The middle of the "Hermandad" sculpture by Sergio Castillo Mandiola was shown closer. Here, the welds of the metal could be clearly seen.

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A final photograph of the "Buckyball" sculpture by Leo Villareal showing that it now glowed purple. This sculpture created a dramatic greeting for those about to visit the Exploratorium on Pier 15, The Embarcadero, San Francisco, California. The "Buckyball" sculpture stood on six metal legs over a hole in the dock. Below that hole was the water of San Francisco Bay. A fence prevented visitors from falling in. A closer view of the metal forming the sculpture and the lights embedded into its arms. Those lights now glowed a warm amber.

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The man's dog also had both eyes on one side of its face. It too bared its teeth in threat to the abstract dog facing it. The woman (who appears to be Miss L) was drawn in the style of one of Picasso's weeping women. A more naturalistic man offered flowers to the Miss L. Miss L stood inside a room and held an apple. Her arm arm was twisted like a loaf of bread. Her buttons zig zagged down her blouse. The window behind her leaned right. A bouquet of flowers were arranged in the man's hand as if his hand were a vase. The hills in the background were purple.

Some related stories: Roan Victor • Marginalink • Fujiko Nakaya • Weltzin "Bill" Blix • Fernando Cisneros • Dave Young Kim • Dan Fontes • Lauren Napolitano • Amara Por Dios 1988- • Isamu Noguchi

A blue elephant, facing the street, was painted below the front windows of a closed store at 214 Valencia Street, San Francisco. To right of the the blue elephant was a pink elephant which looked left and was outlined in electric blue. A beige elephant was painted below the windows of a closed store at 214 Valencia Street in San Francisco. It was outlined in an electric blue. The artist's signature was written in the extreme lower left of the mural. It appeared to read, "Aukis."