Clay continues to have strong presence in the city in the aftermath of a national ceramics educators' conference that spurred 100 exhibitions. Solid shows at the August Wilson Center for African American Culture and at the Senator John Heinz History Center demonstrate the evolution of the use of the medium from 19th century functional wares to contemporary abstract sculpture.

At the August Wilson Center's Gallery 209/9, "Black Clay in PA: A Dialogue in Flux" features sculptural works by nine artists with state connections. It was curated by Sharif Bey, a Pittsburgh native who honed his skills at Manchester Craftsmen's Guild, earned a Ph.D. in art education from Penn State University and is on the faculty of Winston-Salem State University in North Carolina.

A Fulbright scholar who's lectured internationally, Bey combines impeccable craftsmanship and symbolism to make forceful statements in clay, as with the nine stylized figures of "African Cliches to Match Your Couch." More directly narrative are Michael Clemmons' tableaux, including the compelling "Ebo Landing: Requiem for Katrina."

Other artists work abstractly. Syd Carpenter's absorbing pieces are both fluid and solid, geologic and organic, verging on figural but residing in the realm of dreams. Their mass is complemented by deft application of glaze and pattern, sometimes dominant and at others subtle. Titles -- at times humorous like the prickly, reddish "Own Worst Enemy" -- suggest additional interpretations.

It would require more space than I have to do justice to this engaging show. Rounding it out are frequently exhibited Pittsburgh artists Vanessa German and Mary Martin, here exhibiting somewhat ritualistic works that are, respectively, candidly in your face and methodically contemplative.

Also, Pittsburgh native Justin Coleman's clever conceptual statement, the bold allegorical figures of Philadelphian Paul Andrew Wandless and the graceful, wonderfully textured abstract forms of Malcolm Mobutu Smith, who was introduced to clay in his Berwyn, Pa., high school.

At the History Center, the works in "Formed and Fired: Three Ceramic Traditions" reflect the changes clay working has undergone between the mid-1800s and today.

"Pots by the River: Treasures From the Waynesburg University Collection" comprises 65 pieces from the country's preeminent institutional collection of early Southwestern Pennsylvania pottery.

Between the 1840s and 1915, there were 30 pottery operations on or near local rivers, the two major centers being New Geneva, Fayette County, and Greensboro, Greene County. In peak production years, between 1870 and 1875, these centers alone produced more than a million pieces annually.

The show includes sterling examples of salt-fired, cobalt-slip-decorated stoneware in remarkable condition. Oddities include a stoneware doll head, teeny miniatures, a grease lamp and a meat tenderizer.

"Women With Wood -- Three Generations" features 17 clay artists who employ wood-fired kilns, among them such seminal figures as Karen Karnes and Linda Christianson. Both functional and sculptural pieces exemplify the varied results that may be coaxed from wood firing, including but not limited to the ruddy surfaces typical of the method.

"Seven Potters Follow Ohr" is a predictably eclectic show, its inspiration being 19th-century potter George Ohr, who broke all formal conventions and was unappreciated in his time but is now highly collectable.

Standouts include Lisa Orr's functional but gleefully decorative works, their surfaces pinched and embellished with added clay, covered with flowing glazes. Their saturated color and rich, wet-appearing surfaces give them the visceral quality of an exposed organ, almost pulsing.

The rabbits of Bart Fetz's pieces call to mind noted ceramist Ken Ferguson, but it's evident from his encrusted, distorted, expressive cups and other sculpture like the fanciful "Blue Moon Basket" that Fetz follows his own drummer.

Susan Filley's forms and glazes are as refined as Fetz's are rough, but not lacking an edge, and a "Set of Fluted Cups," their cool green and aqua surfaces sparked by particles resembling gold dust, is elegant.

John Britt's funky, askew cups and ewers are also noteworthy.

Atypical of museum exhibitions but reflecting conference practice, most works in the latter two shows are for sale, and many have been purchased.

"Black Clay" continues at 209 9th St., Downtown, through May 31. Admission is free. Hours are noon to 5 p.m. Wednesday through Saturday. For information, call 412-281-5484.

The shows at the History Center continue through May 18 at 1212 Smallman St., Strip District. Hours are 10 a.m. to 5 p.m. daily. Admission, which includes the Sports Museum, is $9, $7 seniors (over 61), $5 students and children 6 -18, free to ages 5 and under and members. For information, call 412-454-6000 or visit www.pghhistory.org.

Her father earned a chemical engineering degree from Carnegie Institute of Technology (now Carnegie Mellon University) but that wasn't enough to counter the prevailing discrimination against workers of Eastern European descent in the mills, and when passed over for promotion he went to work for the unions. Anna Marie Sninsky talks about both painting Pittsburgh and growing up here at 6 tonight, followed by a closing reception of her solo exhibition, at the Steel Valley Arts Council's artspace105, 105 Eighth Ave., Homestead.

The very fine and personal show, featuring paintings of mills, neighborhoods and still lifes, as well as works in other media, inaugurates the gallery, located at the corner where the Homestead Grays Bridge meets Eighth Avenue. The 76-year-old Munhall native grew up overlooking the Carrie Furnaces, which as a child she referred to as "dragons in my valley." She's a founding member of the Arts Council, a longtime member of Associated Artists of Pittsburgh, and has been a member of the Carnegie Library of Homestead Board, raising more than $3 million for renovations during her tenure.

The event is free and open to the public. For information, visit www.steelvalleyarts.org.