IN ALICE SHAW'S "Photographs, Drawings, and Cheatings," three series of self-portraits explore the roles of identification and mistaken identity in constituting a sense of self. One series, using drawing, watercolor, and collage, makes the most of Shaw's apparent confusion between outsider-artist Henry Darger and Alice in Wonderland author Charles Dodgson – better known by his pen name, Lewis Carroll. Both were both fascinated by the sexuality of young girls, and Shaw identifies with the fictional Alice, for whom she was named, and Alice Liddell, on whom the character is based. To construct the series, she's drawn from John Tenniel's illustrations for Alice in Wonderland, characters from Darger's scrolls, Dodgson's photographs of girls, and pictures of herself. The result are works that articulate these confusions and the artist's exploration of the boundaries of her identity through her associations. A second series includes snapshots of Shaw with people she thinks she resembles. In some, the resemblance is clear: in one she stands beside a slightly hunched older man, squinting and smiling in a matching "Slugs" jersey, and in another she poses wearing rouge, mascara, and lipstick with a woman behind the Macy's Lancôme counter. But what make the series most compelling are the pictures in which the resemblance is more subtle. Shaw's poses with a grocery clerk at Cala Foods, several nondescript middle-age women, and a large man with a goatee make you wonder what leads her to identify with these people. Sometimes they have similar glasses or shirt collars, but the artist's repeated appearance in the pictures produces an effect reminiscent of Woody Allen's Zelig – and speaks to a desire to identify more than it does to show any mere correspondence. The photographs express affection as much as identification, and they give voice to the importance of belonging while sustaining a sense of self. The third series includes Shaw's photographs of herself dressed as famous Alices: Alice in Wonderland, Alice B. Toklas, Alice Nelson, and Alice Cooper. But these pictures add little to her otherwise engaging study on the superficiality of the relationship between the artist and her subjects. Mon.-Fri., 9 a.m.-5 p.m., and by appt., 1616 16th St., third floor, S.F. (415) 626-7495. (Clark Buckner)