In New York, you can drink cocktails above a Five Guys Burgers, eat Momofuku Milk Bar ice cream while shopping at Band of Outsiders and sip java in the basement of midtown office buildings. Soon, you can eat doughnuts at the car wash. Though most Gothamites don’t own cars, there’s something nostalgic and supremely Americana about the concept. Or at least that’s why former Chanterelle sous chef Scott Levine chose the locale. That, and to satisfy his constant cravings for sweets. “I took this turn because I have a massive sweet tooth,” he says. “When the opportunity to open my place in a car wash came up, I couldn't have thought of a more perfect food experience: getting your car washed, eating doughnuts and drinking a cup of coffee.” Underwest Donuts, the tiny doughnut den, is tucked alongside the tunnel inside West Side Car Wash. Slated to open Monday, Dec 1, the pocket-sized bakery churns out old-fashioned, cake-style coffee dunkers that are pulled from an automated Donut Robot frying and cooling them.

The rings are served glazed, sugared and plain in flavors like brown-butter, cocoa-raspberry, lime-coconut and halvah-tahini. Dip them in a cup of Brooklyn Roasting Company coffee or espresso, take a seat at one of six counter seats—parked under shelves of anti-freeze, air fresheners and beaded seat covers—and then watch through the glass wall as cars roll by for a scrub and buff. If you’re not up for the show, there’s also a walk-up take-out window facing Twelfth Ave. Check out the full menu and more photos below: For any feedback or for more information email on January 06, 2012 at 4:00 PM, updated Before closing the books on 2011, here are the five exhibitions, two performances and one scrappy project space that defined my year of looking at art in Portland. "Between My Head and My Hand, There Is Always the Face of Death" at PNCA. This group show curated by PICA's Kristan Kennedy found plenty of radical twists and turns in the tradition of figure painting, featuring painted bodies that sunbathe, dance, disassemble in a studio, and commingle with hanging houseplants.

Amy Bessone's hyper-sensuous Matisse riffs and Kaye Donachie's cool, spectral compositions were especially stunning. Daido Moriyama at Charles A. Hartman Fine Art. Moriyama's black-and-white snapshots ostensibly capture the incidental encounters of his daily walks through his neighborhood in Tokyo, but, looking at these selections from four decades of the photographer's career, it's clear his real subject has been the erosion of tradition by modernity in postwar Japan. From the dejection of the starving mongrel in "Stray Dog" to the tranquility of a canopy of spring flowers in "Cherry Blossoms," Moriyama's images are as deeply felt as they are affecting. "Collect Four" at UO White Box. If the exhibition's subtitle ("Scenes from Portland's bleeding edge") was a bit of an oversell, this four-person show curated by Jesse Hayward was still an excellent showcase for four of the city's most promising talents: Midori Hirose, Oregon Painting Society member Jason Traeger, Matthew Green and Appendix affiliate Ben Young.

Hayley Barker at Charles A. Hartman Fine Art. In "Cathedrals," Barker's oil paintings aspired to evoke not only the landscape of the Pacific Northwest -- its drooping fir boughs, placid lakes and inky skies -- but also the sense of profound spirituality it inspires. Based on the childhood journals of Opal Whiteley, whose mystical musings on the Northwest were published as "The Story of Opal" in 1920, Barker's paintings straddle the line between representation and abstraction, translating the meditative and transporting power of the natural world.Laminate Flooring With Free Fitting Jesse Sugarmann at Fourteen30 Contemporary. T Shirt I Love CroatiaSugarmann's minivan-and-air mattress pileup at TBA was sheer spectacle -- and a stark contrast with the object-based work in "Works and Days." Used Hotel Furniture For Sale Dallas Texas

Using his signature vocabulary of cars and automotive culture, he fired numerous sets of rims in a kiln, creating beautiful mandala-like forms that seemed ancient and ceremonial, not like scrap yard fodder. For another sculpture, he outfitted a plinth-mounted car seat with dozens of wooden beaded seat covers, mythologizing the backseat view of his father from childhood. It was absurd, touching, and among the best things I saw all year. Jordan Wayne Long at Rocksbox @937. Long shipped himself from Arkansas to Portland in a crate and, during the week spent in transit, he did nothing but play the massive multiplayer game "Lord of the Rings Online." When he finally arrived at @937, a pop-up space managed by Fourteen30 Contemporary at the 937 Condominiums, the crate was suspended from the ceiling and, well, he continued to play. Meanwhile, three projections appeared on a nearby wall: one charted his journey to Portland, another streamed his adventures in the game world, and a third focused on the artist's exhausted, sallow face.

Curated by Rocksbox's Patrick Rock, Long's performance was an endurance test of inactivity and claustrophobia, as well as a provocative affront to the lines between the virtual and the real. Shana Moulton and Nick Hallett at TBA. No other TBA performance has haunted me like Moulton's "Whispering Pines 10," which expanded her ongoing video series into a performance with a three-channel video installation and live opera libretto composed by collaborater Hallett. In this episode, Moulton's agoraphobic alter-ego Cynthia is as lost as ever -- at least until she happens upon a TV interview with environmental activist Julia Butterfly Hill. Tragicomically, Hill's message of self-empowerment gets confused along the way, leading to a finale in which Cynthia smears her face with peanut butter and coats it with birdseed, turning herself into some deeply dysfunctional version of a nurturer of nature. Yes, it's very weird, but nobody sends up soul-starved consumerism with as much insight -- or heart -- as Moulton.