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After about three decades of photographing Weimaraners—lovable as they are—you’d think William Wegman might want to move on to something else. And for a while, Wegman seemed to have run out of ideas; his most recent major outing in Washington (the 2001 Corcoran Gallery show “In Response to Place”) consisted mostly of mediocre images of his dogs in Cobscook Bay, Maine. Wegman, however, redeems himself with “New Pigment Prints,” which recently opened at the David Adamson Gallery. The exhibition’s 11 photographs, all made this year, are notable for their large size (some single photographs are as big as 54 1/2 inches by 46 inches) and for their lush color and black-and-white shadings, all printed on high-quality artist’s paper rather than slick photographic stock. Even more noteworthy is Wegman’s ability to produce good-natured homages to well-known works of photography. Chest of Drawers is a tightly cropped close-up of a well-groomed dog’s chest, in the style of a Robert Mapplethorpe nude; Stop Action is a series of five images of moving dog legs that, hung in succession, mimic the famous 19th-century animal-motion studies of Eadweard Muybridge; and Valley of Lost Flora and Neo Bio, with their flowers and undulating dog curves, suggest the richly colored surrealist imagery of Gregory Crewdson. But the finest image is least like the others: Show of Shadow (pictured), whose sinuous, evanescent form of a dog contrasts pleasingly with the unmistakable tactility of Wegman’s other work. The exhibition is on view from 11:30 a.m. to 5 p.m. Tuesday to Friday and from noon to 5 p.m. Saturday, to Wednesday, April 30, at David Adamson Gallery, 406 7th St. NW. Free. (202) 628-0257. (Louis Jacobson)