Louie Ewing’s silkscreen posters for the annual Inter-Tribal Indian Ceremonial in Gallup, New Mexico, embody the contradictions of appreciation without equity. Ewing was a pioneer of serigraphy (silkscreen printing) in the Southwest who had trained with the Works Progress Administration (WPA), a Depression-era federal program that funded the arts and employed millions of Americans to build infrastructure. He was commissioned by the government to create these posters—yet the designs are not entirely his own. Ewing notes in the margin of each poster the names of the Native artists whose work he has adapted in the composition: Frank Vigil (Jicarilla Apache), Jim Redcorn (Osage), and Raymond Chavez (Zuni Pueblo). These artists did not directly collaborate with Ewing on these images nor were they compensated for the use of their motifs. Founded in 1922 by Gallup’s coal-mining citizens, this annual event promised to present “the Indian in his true nature” while promoting tourism to their isolated frontier town. The organizers urged the public to “appreciate” and “perpetuate” Native cultures that they themselves were not a part of, reinforcing the idea of the white savior as the best and only means of preserving a heritage.