* Three Native American photographers at Kathleen Ewing sound notes of celebration and satire, and in each case the latter rings truer. Though hints of bitterness run through Zig Jackson's shots of Native American war vets, they don't sting like his "Entering Zig's Indian Reservation" series, in which the artist wryly stakes his claim to sites such as San Francisco's City Hall. Dressed in sneakers, jeans, plaid shirt, sunglasses and feathered headdress, he poses beside a faux-official sign outlawing such activities as hunting, picture-taking and being a New Ager. Victor Masayesva Jr.'s cornball "Nude/Seeds" superimposes a female torso with kernels of maize, while his wild-eyed, money-munching kachina montage acidly personifies the cultural force that is the Indian casino. And Hulleah Tsinhnahjinnie's written reminiscence of a childhood visit pales beside a digitally manipulated meeting of astronaut and child that resurrects the spirit of Gil Scott-Heron's Apollo-era performance poem "Whitey on the Moon."

"Contemporary Native American Art: Zig Jackson, Victor Masayesva Jr., Hulleah Tsinhnahjinnie" at Kathleen Ewing Gallery, 1609 Connecticut Ave. NW, Wednesday-Saturday noon-5 p.m., 202-328-0955, to Oct. 9.

"China Basin District," part of Jackson's "Entering Zig's Indian Reservation" series.