I had a busy Thursday night and wasn't able to get to as many ArtHop locations as usual, but I did catch a few interesting shows. My pick of the night: the art of Valerie Runningwolf at Gallery 25.

First up, it was the inaugural ArcHop, held at Broadway Studios. (Clever name, eh?) It's nice to see an emphasis and appreciation for local architecture, because, let's face it, this city isn't exactly known for its architectural planning and sophistication. (In fact, I'm thinking that one of these days in The Bee I should have an Ugliest Building contest; one of my nominees would have to be that Egyptian-themed monstrosity along Highway 41 where I think you'll find the restaurant Slates.) Anyway, the first ArcHop was a cozy little affair in which you got a chance to peruse the plans for some of Fresno's most notable buildings -- and talk up the hip young gaggle of local architects on hand. This was the first time I got to see plans for pioneer developer Reza Assemi's Broadway project, which looks like an impressive exercise in mixed-use development, something that downtown sorely needs.

There was also an interesting set of plans on display for the proposed new University High School at Fresno State. My understanding is that ArcHop is a quarterly thing. I'd like to learn more about this event and perhaps in the future even feature an example of Fresno architecture tied to the event in The Bee and on The Beehive. The way I look at it, anything that doesn't involve tract houses and cul de sacs gets me pretty excited.

At Gallery 25, I was drawn to the work of Valerie Runningwolf, a Native American artist with a magnetic vision whose work -- consisting of watercolors, spirit masks, free-standing gourds and mixed-media pieces -- has a vibrant, upbeat sensibility.

Years ago I lived in Anchorage, Alaska, and wrote a fair amount about native artists, many of whom were particularly known for their spirit masks. It's fascinating to see the similarities and differences in Runningwolf's works. The Alaska native spirit masks, which often feature carved walrus ivory, tend to have a serious, even glowering, disposition. But Runningwolf's masks, made from gourds, have a smoother feel: gentler, more plaintive, a protective air, with frazzled hair and big, gaping expressions.

Runningwolf's watercolors are also particularly strong, whether they be studies in the gradation of color or a series of amoeba-like, seaworthy blobs that seem to pulsate in a watery clime. Some of her mixed-media pieces are striking, including the compelling "Shaman," pictured on this page, which depicts a stumpy figure perched in an impossibly wide stance, your eye drawn toward a three-dimensional face marked by a round-eyed expression. With the bright colors and patterns, there's a feeling of pageantry to the work, as if we're looking at a costumed character conducting a ritual ceremony.

I was not as drawn to some of the other works, such as the salamander-dominated "Cosmic Travelers," which seems static and mechanical.

Also included in the joint Gallery 25 show are abstract and semi-abstract prints by Desyls Robinson made using the "chine colie" printmaking method.

Two doors down at Fig Tree Gallery, I had mixed feelings about Linda Koch's work, especially her later "Flight," which incorporates some of her exploration of organic-shaped forms with a monochromatic color scheme. The work is intricate and the technique accomplished, but the works lack a certain spontaneity and energy. They're almost fastidious. I much prefer earlier works from her Forest Floor series, particularly the ones typified by the acrylic "Eden" (which you can see here on her Web site. The series is lush and colorful, with a faint reminder of the fecundity of Rousseau -- an all-enveloping sensibility, as if you could fall into the painting and get caught up in its thick tangles.

Other ArtHop spots: Any gems out there I missed? I'd love to hear of other reader impressions. My ideal would be for readers not only to comment (and disagree if need be) with my interpretations, but to expand on the many other studios and galleries I don't get to each month.