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The "Columbus Café" mural, by artist Terry Buckendorf, showed a man leaned against the wall and loitering. That man was about to light a cigarette there by the open doorway. A man and a woman stood just inside the open door of the "Columbus Café" mural. They might have been lovers, or they might just be enjoying a lunchtime getaway. 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.

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The middle level of the ramp featured a river that swirled its way along the ramp wall. The wall was painted above the ceramic art in blue, and below the ceramic art in green. A fish swam in the river and a heron waited to strike the fish. California poppies grew on the opposite shore. 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. To the extreme right of the upper layer of the ramp, two blackbirds or crows flew through the nighttime sky among stars.

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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. The people, depicted on the right-hand side of the "Splash" by Kerry Rowland-Avrech, were stained in warm tones. They were painted in yellow, orange, and red colors. 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. 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 Gabrielson Park. The sculpture towered over Gabrielson Park. A sign identifying this "Hermandad" sculpture was attached to the concrete base upon which the sculpture was mounted. It read in part, "Hermandad, by Sergio Castillo Mandiola, A gift in friendship from a native of Viña del Mar, Chile, Sister City of Sausalito in 1969." The "Hermandad" sculpture by Sergio Castillo Mandiola stood tall, but its rusted metal color almost vanished into the city behind it.

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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 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. Another view of the sculpture looking up and through it. This photograph illustrates how the arms fit together and how each LED pod was caulked to prevent water damage.

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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. A closer view of the man's face. His face was more naturalisticly drawn, yet still retained a cartoon quality. Notice that the wind blowing across the man was indicated with white horizontal lines. A small sign was stuck to the wall next to the mural. It read: Flowers for Miss L Created by Kelly Detweiler & The Davis Mural Team Powered by XtreemeSognPost A closer shot of Mill L's face revealed that her right eye was an X. It also revealed that the apple contained a 4 inside it.

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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." 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.

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The other figure formed from "Large Four Piece Reclining Figure," was a headless body balanced atop another headless body. Someone had left a bowling ball resting against the "Large Four Piece Reclining Figure" sculpture by artist Henry Moore in front of Louise M. Davies Symphony Hall in San Francisco, California. The ball was loose and definitely not a part of the sculpture. One of the two figures looked like a head balanced on a body that lay on its back. The four shapes were cast in bronze and showed signs of weathering and age. The four pieces resembled two reclining people. The title of this work was cast into its bronze base. That title read, "Large Four Piece Reclining Figure."

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Ceramic art by Linda Fitz Gibbon was applied to three faces of a blue wall that formed a barricade between the sidewalk and the building beyond. The only bee in the exhibit was viewed from above it. It too was surrounded by swirls of water. A yellow/black ceramic butterfly flew under the curl of an ocean wave in the "Songs Of Spring" exhibit in Plant Plaza of Davis, California. A lone peach decorated the corner attached to a larger ceramic work on the next wall. Water seemed to flow around the peach in the "Songs Of Spring" art exhibit by Linda Fitz Gibbon.

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A frog held a "Welcome" sign with its red metal fingers. Behind the frog was a, "Business Hours," sign. To the right of the frog was a "Free WiFi," sign next to an open door. To the left of the frog was a black metal bench upon which visitors could sit. Below on the ground was a large stainless steel bowl filled with water for the occasional passing dog. Inside on the floor of the coffee shop were pumpkins in advance of Halloween.

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An unknown someone spray painted a smiling face on the side of a brick wall. He/She used black spray paint to draw the face. And later, either that person, or another, colored the eyes with blue chalk. The result was a sign on a wall that expressed (among other thoughts) the thought, "Smile."

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A closer view of the cube in which its welds were more visible. The vertical rods, as seen here, appeared to be covered either in solar cells, or reflective tape. The base of the sculpture was formed from concrete blocks set in the dirt. The sculpture was mounted to a few of the blocks. The rest of the blocks remained unused. A bronze sign embedded in the dirt underneath the sculpture identified it. In part, this sculpture was, "Dedicated to the People of Davis." A view of the central cube showing how trees have grown over the years to wind throughout the sculpture. One could see fruit beginning to form on the trees.

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A banner drawn inside the mural read, "Davis Mural Team." The three letters, above the words on the banner, began with the Greek letter delta, which stood for D and thusly DMT for Davis Mural Team. The other members of the Davis Mural Team were painted at the top of the mural gathered together and gazing out a window at the scene below. The other persons in the mural represented individuals members of the Davis Mural Team. Here, they carried pallets of oil paints toward the artist Peter Bruegel the Elder.

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A sign was part of the mosaic covering the "Phoenix" sculpture by Mark Rivera. The sign was faded from years facing the sun and was illegible. A side view of the "Phoenix" sculpture by Mark Rivera. It stood rock still and held two sticks or staffs. The "Phoenix" sculpture stood on a patch of grass and faced the autumn's afternoon sun. The front of the "Phoenix" sculpture by Mark Rivera was lit by the sun. Its entire body was covered in brightly colored mosaic tiles. The "Phoenix" sculpture stood at the corner of the block in a predominantly residential neighborhood. It was just past a "Rentals Available" building.