American Indian Rock Art (AIRA) Papers Sorted By Volume
| Volume | Author | Title | Page Reference |
| 1 | Bain, James G. | Tapping the TAP (Tourist Archaeological Potential) | 147-150 |
| 1 | Davidson, Howard M. | The Occurrence of the Hand Motif in North American Indian Rock Art | 151- 163 |
| 1 | Davis, John V. | A Prehistoric Water Control System at Hueco Tanks State Park | 91-104 |
| 1 | George, Peter B. | A Recently Discovered Rock Art Site in Northern New Mexico | 105-108 |
| 1 | Hedges, Ken | Kumeyaay Rock Paintings in Southern California | 115-129 |
| 1 | Kolber, Jane and Yoder, Donna | Survey of Rock Art of Apache County, Navajo Reservation | 57-63 |
| 1 | Lemmon, Jean Robertson and Robertson, Nancy | Rock Art of the Raton Section of the Great Plains Province | 41-56 |
| 1 | Lowrance, Miriam A. | Rock Art of the Big Bend, Texas | 28-39 |
| 1 | Pilles Jr., Peter J. | Petroglyphs of the Little Colorado River Valley, Arizona | 1-27 |
| 1 | Snyder, Ernest E. | Petroglyphs of the South Mountains of Arizona | 109-113 |
| 1 | Steed Jr., Paul P. | The Fort Hancock Rock Art Site | 85-90 |
| 1 | Sutherland, Kay | A Classification and Preliminary Analysis of Pictographs at Hueco Tanks State Park, Texas | 65-83 |
| 1 | Watson, Editha L. | Materials of Ancient Southwestern Art | 131-135 |
| 1 | Wellmann, Klaus F. | X-Ray Motifs in North American Indian Rock Art | 136-146 |
| 2 | Bain, Col. James G. | Paleolithic Rock Art. Does it Exist in North America | 109-113 |
| 2 | Buck, Mimi and Rhodes, Cheryl | Rock Art of West Central Colorado and Periphery | 1-4 |
| 2 | Castleton M.D., Kenneth B. | Rock Art of the Uintah Basin of Utah | 19-25 |
| 2 | Grant, Campbell | The Need for Consistency in Rock Art Terminology | 88-91 |
| 2 | Green, John W. | The Study of Early Photographs of Rock Art Sites to Enhance the Accuracy of Later Investigations | 66-82 |
| 2 | Hedges, Ken | Southern California Rock Art as Shamanic Art | 126-138 |
| 2 | Horne, Stephen | Analysis of Chumash Rock Art from Sierra Madre Ridge, California | 114-125 |
| 2 | James III, Charles D. and Davidson, Howard H. | Style Changes of the Horse Motif in Navajo Rock Art: A Preliminary Analysis | 26-46 |
| 2 | Lowrance, Miriam A. | El Dorado Through La Junta, Big Bend, Texas | 47-65 |
| 2 | Mayer, Dorothy | A Possible Astronomical Petroglyph Panel at Spanish Springs | 139-156 |
| 2 | Snyder, Ernest E. | A Proposal for Developing a Uniform Rock Art Nomenclature System | 87 |
| 2 | Steed Jr., Paul P. | Towards a Classification of Rock Art Design Elements | 83-86 |
| 2 | Vuncannon, Delcie H. | Grand Gulch: Southeastern Utah's Picture Gallery | 5-18 |
| 2 | Wellmann, Klaus F. | Some Observations of the Bird Motif in North American Indian Rock Art | 97-108 |
| 2 | Wood, Albert W. | Petroglyphs and Pictographs Explained Through Ethnohistory | 92-96 |
| 3 | Apostoledes, Alex | Rock Art of the Saltdale Quadrangle: A Mojave Desert Survey | 101-106 |
| 3 | Castleton, Kenneth B. | The Rock Art of the San Juan River Between Bluff and Mexican Hat | 110-114 |
| 3 | Cawley, John | The Rocky Hill Pictographs | 107-109 |
| 3 | Fowler, Daniel B. | Indian Petroglyphs Recently Discovered in West Virginia | 38-46 |
| 3 | Fresko, David | Rock Art of Southeastern Anatolia with Some Comparisons to Northern American Indian Rock Art | 27-37 |
| 3 | Grant, Campbell | Some Painted Rock Art Sites in the Sierra Libre, Sonora, Mexico | 47-62 |
| 3 | Hedges, Ken | Rock Art in the Pinon Forests of Northern Baja California | 1-8 |
| 3 | Marshall, Francine | Aesthetics of the Great Basin Pecked Style | 80-85 |
| 3 | Martin, Donald | Introduction to the Rock Art of Death Valley | 144-150 |
| 3 | Rector, Carol Huber | The Function of East Mojave Rock Art | 151-156 |
| 3 | Ritter, Dale W. and Ritter, Eric W. | The Influence of the Religious Formulator in Rock Art of North America | 63-79 |
| 3 | Snyder, Ernest E. | The Great Sinagua Serpent Pictograph of Hart Well Canyon | 120-123 |
| 3 | Steed Jr., Paul P. | Rock Art at La Cienega Mesa, New Mexico | 115-119 |
| 3 | Steinbring, Jack | Prehistoric Lunar Cultism in the Great Lakes Region: An Hypothesis Regarding the Old Copper Culture | 9-26 |
| 3 | Sutherland, Kay | A Comparison of Jornada Mogollon Mask Motifs with Contemporary Kachina Masks | 124-143 |
| 3 | Vuncannon, Delcie H. | Do Diamond Chain Patterns Found on the High Desert Indicate Puberty Practices? | 96-100 |
| 3 | Wellmann, Klaus F. | Ships on the Rocks | 86-95 |
| 4 | Apostoledes, Alex | The Rock Art of Chalcazingo, Morales, Mexico | 90-95 |
| 4 | Benton, James | Dating a Pictograph | 21-25 |
| 4 | Brooks, Richard, Ritter, Eric W. and Farrell, Nancy | Native American Rock Art in a 19th Century California Mining Boom Town | 9-20 |
| 4 | Brugge, David M. | Motivation and Function in Navajo Rock Art | 141-147 |
| 4 | Chamberlain, Von Del | Sky Smbol Rock Art | 79-89 |
| 4 | D'Amico, Diane H. | Rock Art of the Northern Sinagua Area | 128-140 |
| 4 | Davis, John V. | The Occurrence of Pecked Figures at Hueco Tanks Pictograph Site | 96-103 |
| 4 | Hawk, Ruth | Visual Perception - and Mis-Conception | 71-78 |
| 4 | Kolber, Jane and Yoder, Donna | Anthropomorphs of Red Lake | 104-107 |
| 4 | Lee, Georgia | Decorated Burial Markers and Portable Rock Art of the Indians of the Santa Barbara Coast | 177-190 |
| 4 | McCarthy, Daniel F. | Introduction to Rock Art of Joshua Tree National Monument | 41-56 |
| 4 | McGowan, Charlotte | Female Fertility and Rock Art | 26-40 |
| 4 | Popelish, Linda Ann | Stylistic Variation in Anasazi Rock Art, Canyon del Muerto, Arizona | 148-155 |
| 4 | Ritter, Eric W. | Management of Rock Art in the California Desert | 1-8 |
| 4 | Snyder, Ernest | A Comparison of Hohokam and Possible Patayan Petroglyphs near Phoenix, Arizona | 124-127 |
| 4 | Vuncannon, Delcie H. | Petroglyphs in John's Canyon, Utah | 156-169 |
| 4 | Weaver Jr., Donald E. and Rosenberg, Bettina H. | Petroglyphs of the Southern Sierra Estrella - A Locational Interpretation | 108-123 |
| 4 | Wellmann, Klaus F. | The Jump-Across Creek Petroglyph Site in Bella Coola Indian Terrtitory, British Columbia | 57-70 |
| 4 | Wilson, Richard A. | Rock Art at Arrow Canyon, Nevada | 170-176 |
| 5 | Steinbring, Jack | Late Archaic Dynamics Through Cross-Media Rock Art Comparisons | 155-172 |
| 5 | Sutherland, Kay | Hueco Tanks State Park, Texas: The Politics of Preservation | 81-97 |
| 5 | Thomas, Jesse James | Rock Art and the Phenomenology of Language | 126-134 |
| 5 | Vuncannon, Delcie H. | The Ten Circle Horsehoe Intaglios of Mule Mountain | 142-154 |
| 5 | Wellmann, Klaus F. | A Quantitative Analysis of Superimpositions in the Rock Art of the Coso Range, California | 50 |
| 5 | Williamson Ray A. and Young, Mary Jane | An Equinox Sum Petroglyph Panel at Hovenweep National Monument | 70-80 |
| 5 | Benton, James S.and Vuncannon, Delcie H. | Cultural Affinities of the Freightwagon Site, Near Baker, California | 59-69 |
| 5 | Bilbo, Michael | Use of Photo Mosaics in the Mapping of Rock Art Sites at Hueco Tanks State Park, Texas | 135-141 |
| 5 | Crotty, Helen K. | Rock Art of the Modoc Territory | 22-35 |
| 5 | Crowley, M. Suzanne | Rock Art of Saline Valley, Inyo County, California | 36-49 |
| 5 | Grant, Campbell | The Occurrence of the Atlatl in Rock Art | 1-21 |
| 5 | Hedges, Ken | The Rancho Bernardo Style in Southern California | 51-58 |
| 5 | Landon, George M. | The Petroglyphs and Other Features at Jagow Well | 99-114 |
| 5 | McClure Jr., Richard H. | The Tsagiglalal Motif in Rock Art of the Lower Colombia River | 173-189 |
| 5 | Sofar, Anna, Volker, Zinser and Sinclair, Rolf | A Unique Solar Marking Construct of the Ancient Pueblo Indians | 115-125 |
| 6 | Burke, William J., Bradshaw, Richard L., and Turner II, Christy G. | Preservation Studies on the Davis Gulch Pictographs | 11-17 |
| 6 | Cawley, John J. | Contemporary Rock Art | 18-20 |
| 6 | Fresko, David | Review of Two Rock Art Sites in Puerto Rico | 66-79 |
| 6 | Grant, Campbell | An Introduction to Yokuts Rock Painting | 21-35 |
| 6 | Hedges, Ken | Painted Pebbles from Lake Cahuilla, Imperial County, California | 103-106 |
| 6 | Lee, Georgia and McCarthy, Daniel | The Rock Art of the Stanislaus River, California | 130-140 |
| 6 | Leen, Daniel | The Meyers Narrows Petroglyphs: The Archaeological and Ethnographic Context of a Northwest Coast Rock Art Site | 48-65 |
| 6 | McCarthy, Daniel F. | Rock Art Dating at Travertine Point | 107-117 |
| 6 | McClure Jr., Richard H. | Paired Anthropomorphs of Central Washington | 36-47 |
| 6 | Quinn, Harry M. | Two Unusual Mountain Cahuilla Rock Art Sites in Riverside County, California | 118-129 |
| 6 | Schiffman, Robert A. and Andrews, Stephen B. | The Slippery Rock Petroglyph Site: Analysis and Interpretation of Ker-25 | 141-156 |
| 6 | Warner, Jesse | Some Considerations of Style and a Reappraisal of the Western Utah Painted Style | 80-87 |
| 6 | Warner, Jesse | Engraved Pebble Style of the Salt Flats of Western Utah | 88-102 |
| 6 | Wellmann, Klaus F. | Shades of Dr. Jekyll and Mr. Hyde: Conceptual Dichotomy as Expressed in North American Indian Rock Drawings | 155 |
| 7&8 | Apostoledes, Alex | Two Petroglyph Sites in Durango, Mexico | 69-75 |
| 7&8 | Benton, James | There is a Connection - I Think | 221-224 |
| 7&8 | Grant, Campbell | The Bighorn Sheep - Pre-Eminent Motif in the Rock Art of Western North America | 11-25 |
| 7&8 | Harris, James R. | The War Twins Petroglyph and a Tentative Interpretation | 165-176 |
| 7&8 | Hedges, Ken | Great Basin Rock Art Styles: A Revisionist View | 205-211 |
| 7&8 | Hedges, Ken | Phosphenes in the Context of Native American Rock Art | 1-10 |
| 7&8 | Lee, Georgia | Easter Island Rock Art: The 1981 Field Season | 132-148 |
| 7&8 | Lee, Georgia and Bock, A.J. | Schematization and Symbolism in American Indian Rock Art | 26-32 |
| 7&8 | McCarthy, Daniel F. | Rock Art Replicas: A Method of Recording | 102-103 |
| 7&8 | McCreery, Pat and McCreery, Pat Jack | An Unusual Solstice - Observation Site in Southern Utah | 149-157 |
| 7&8 | Meighan, Clement W. | Rock Art and Archaeology | 225-229 |
| 7&8 | Miller, Layne | Rochester Creek, Utah | 93-101 |
| 7&8 | Murray, William Breen | Rock Art and Site Environment at Boca de Potrerillos, Nueva Leon, Mexico | 57-68 |
| 7&8 | Ritter, Eric W. and Rector, Carol H. Payen, Louis A. | Marine, Terrestrial, and Geometric Representations with the Rock Art of the Concepcion Peninsula, Baja California, Mexico | 38-56 |
| 7&8 | Steinbring, Jack | Shamanistic Manipulations and the Algonkin Idiom in the Archaeoethnology of Rock Art | 212-220 |
| 7&8 | Steinbring, Jack | Lake of the Woods Style: Petroglyphs of Probable Archaic Affiliation in the Northern Mid-Continent | 76-86 |
| 7&8 | Sundstrom, Linea | A Rock Art Chronology for the Black Hills | 177-204 |
| 7&8 | Thomas, Jesse James | Rock Art and the Religion of the Sky | 33-37 |
| 7&8 | Vuncannon, Delcie H. | Painted Cave in the Old Woman Mountains, California | 87-92 |
| 7&8 | Warner, Jesse E. | The Enclosure Petroglyph Motif: One Possible Interpretation | 104-116 |
| 7&8 | Warner, Jesse E. | Concepts and Significance of the Two and One-Horned Sheep | 117-131 |
| 7&8 | Warner, Jesse E. | Problems with Current Element Lists | 158-164 |
| 9 | Alioto, Joesph T. | Interpretation of Chumash Rock Art: A Psychological Perspective | 44-49 |
| 9 | Docktor, Desiree | The Significance of Rock Art Setting in the Interpretation of Form and Functuion: Preliminary Investigation of Two Yokuts Sites in California | 63-71 |
| 9 | Faulstich, Paul Evan | Australian Aboriginal Rock Art And the Sense of Place | 96-113 |
| 9 | Freeman, Paul and Payen, Louis J. | A Probable Solstice Site in Northern California | 22-25 |
| 9 | Grant, Campbell | Clay Figurines and Rock Paintingss | 77-81 |
| 9 | Hedges, Ken | A Re-examination of Pomo Baby Rocks | 10-21 |
| 9 | Hunger, Heinz | Ritual Coition as Sacred Marriage in the Rock Art of North America | 1-9 |
| 9 | McCarthy, Daniel F. | Stereo Photography: An Aid to Recording Rock Atr | 34-36 |
| 9 | Murray, William Breen | Three Painted Rock Shelters in the Upper Tarahumara Country of Chihuahua, Mexico | 82-88 |
| 9 | Oliver, Mark and Hyder, William D. | Meaning and Symbol: The Contribution of Social Organization to the Study of Chumash Rock Art | 50-62 |
| 9 | Steinbring, Jack and Steinbring, Sandra | Manipulative Factors in Hawaiian Rock Art | 89-95 |
| 9 | Turner, Wilson G. | The Importance of Systematic Rock Art Inventories | 37-43 |
| 9 | Vuncannon, Delcie H. | Dog Pictographs Define Settlement Area of ‘Sheepeaters’ | 26-33 |
| 9 | Warner, Jesse | A Practical Application of Nomenclature | 114-120 |
| 9 | Weinberger, Gay | Four Forms of Yokuts Rock Art From Tulare County, California | 72-76 |
| 10 | Bock, Frank G. and Bock, A.J. | CA-SHA-39: A Lesson in Maximizing a Rock Art Site | 62-78 |
| 10 | Faulstich, Paul | Spirits on the Rock: Symbol and Structure in North Queensland, Australia Rock Paintings | 1-28 |
| 10 | Harris, James R. | Zion Park Petroglyph Canyon Panel | 40-47 |
| 10 | Hunger, Heinz | Ritual Coition with and among Animals | 116-124 |
| 10 | Hyder, William D. and Oliver, Mark | Style and Chronology in Chumash Rock Art | 86-101 |
| 10 | Ives, Gay A. | The Dolores Archaeological Program Rock Art Study, Southwestern Colorado | 48-61 |
| 10 | Knaak, Manfred | Summer Solstice Observatory in Kumeyaay Land, San Diego County, California | 79-85 |
| 10 | Lee, Georgia | Rock Art of Easter Island: The 1982-1983 Season | 174-194 |
| 10 | Moore, Edra | Human Perceptual Behavior and its Implications for Rock Art Research | 130-144 |
| 10 | Ritter, Eric W. | Interpreting the Rock Art of La Trinidad, Baja California, Mexico with Regional Implications | 157-173 |
| 10 | Steinbring, Jack and Simpson, David | The Mud Portage Site (DkKr-4): A Preceramic Context for Petroglyphs in Northwest Ontario | 145-156 |
| 10 | Warner, Jesse E. | Assessing the Significance of Rock Art | 125-129 |
| 10 | Warner, Judith | An Intuitive View of Waterflow, New Mexico | 29-39 |
| 10 | Weaver Jr., Donald E. | Three Pictograph Traditions in North Central, Arizona | 102-115 |
| 11 | Hyder, William D., Lee, Georgia and Oliver, Mark | Culture, Style, and Chronology: The Rock Art of the Carrizo Plain | 43-57 |
| 11 | Layman, William D. | The Rock Art of Rock Island Rapids: A Historical Overview | 76-87 |
| 11 | McCarthy, Daniel F. | Preliminary Report of the Rock Alignments of Panamint Valley, California | 32-41 |
| 11 | McCreery, Pat and McCreery, Pat Jack | A Petroglyph Site with Possible Hopi Ceremonial Associations | 1-7 |
| 11 | Nissen, Karen M. and Ritter, Eric W. | Cupped Rock Art in North-Central California: Hypothesis Regarding Age and Social / Ecological Context | 58-75 |
| 11 | Noxon, John and Marcus, Deborah | Waste to Create Waste? Potential Impact of High-Level Nuclear Waste on Rock Art in Canyonlands National Park, Southeastern Utah | 18-31 |
| 11 | Schwartz, Esther E. | Wheels and Ships of Gjerpen and Other Petroglyphs near Skien, Norway | 100-107 |
| 11 | Vuncannon, Delcie H. | Rock Art Diversity in Hells Canyon | 89-99 |
| 11 | Weaver Jr., Donald E. | Sixteen Centuries of Rock Art at River House Ruin in Southeastern Utah | 8-17 |
| 12 | Bednarik, Robert G. | The Cave Art of Australia | 81-87 |
| 12 | Benson, Arlene and Hoskinson, Tom | Transformations: Preparing the Land | 37-46 |
| 12 | Chamberlain, Von Del | Navajo Star Ceilings | 101-110 |
| 12 | Dickman, Jeffrey | The Value of Rock Art Repositories and Their Application | 89-92 |
| 12 | Ewing, Eve | Preliminary Report on Cueva Halcon: A Major Discovery from the Sierra Mescalera, Southern Baja Norte, Mexico | 111-122 |
| 12 | Grant, Campbell | Alder Cave (CA-VEN-347) | 57-64 |
| 12 | Harris, James R. | Corn Maidens in Anasazi Rock Art | 123-131 |
| 12 | Hunger, Heinz | Ritual Coition with Inanimate Objects | 75-80 |
| 12 | Mark, Robert and Newman, Evelyn | Computer-Graphics Assisted Recording Uvas Creek Petroglyph Site | 137-144 |
| 12 | Ricks, Mary F. and Cannon, William J. | A Preliminary Report on the Lake County, Oregon Rock Art Inventory: A Data Base for Rock Art Research | 93-99 |
| 12 | Ritter, Eric W. | Multifaceted Research and the Enigmatic Shingletown Cliff Paintings of Northern California | 65-74 |
| 12 | Strange, William C. | When the Stone Sings: What Meaning Might Mean in Rock Art | 31-35 |
| 12 | Steinbring, Jack | Dating Rock Art in the Northern Midcontinent | 15-29 |
| 12 | Urban, Sharon F. | Recording Rock Art Sites as Archaeological Sites | 133-135 |
| 12 | Warner, Judith S. and Warner, Jesse E. | To Slay a Dragon | 1-13 |
| 12 | Weinberger, Gay | Yokuts Rock Art from the Post-Contact Period | 145-150 |
| 13&14 | Barabas, Bryn M. | Rock Art at the Southwest Museum | 115-118 |
| 13&14 | Bock, Frank and Bock, A.J. | Rock Art of the Arizona Strip (Preliminary Report Includes Pakoon Springs and Little Black Mountain) | 27-46 |
| 13&14 | Hedges, Ken and Hamann, Diane | The Palo Verde Petroglyphs: a Preliminary Report, California | 9-16 |
| 13&14 | Holmlund, James and Wallace, Henry | Paleoseismicity and Rock Art in Southern Arizona | 1-8 |
| 13&14 | Jack, Jennifer | Management of Rock Art Sites in the Paria Wilderness Area | 149-151 |
| 13&14 | McCarthy, Daniel F., Payan, Louis and Ennis, Paul | Use of Amino Acid Racemization Methods on Rock Paintings at Motte-Rimrock Reserve, Riverside, California | 17-22 |
| 13&14 | McGowan, Charlotte | Taiwanese Rock Art and the Legend of the Lady and the Serpent | 153-161 |
| 13&14 | Moore, Elanie | ‘The Cochimi Landscape’ in the Great Murals of the Sierra San Francisco, Baja California: Is Ron Smith's System Valid? | 47-56 |
| 13&14 | Ritter, Eric W. | An Analysis of Mural Art and Rock Art Sites in the Acari and Yauca Valleys of Southern Peru | 63-76 |
| 13&14 | Steinbring, Jack | The Need for a Method and Theory in Rock Art Conservation | 23-26 |
| 13&14 | Strange, William C. | Palimpset: Re-Thinking Superimposition in Rock Art | 119-126 |
| 13&14 | Strange, William C. | Child of the Water, Child of the Wall: An Essay in the Semiotics of Barrier Canyon, Utah | 77-81 |
| 13&14 | Turner II, Christy G. | The Origin of American Rock Art | 57-62 |
| 13&14 | Warner, Jesse E. | An Introduction to Figures Representing a Double Entity | 127-148 |
| 13&14 | Weaver Jr., Donald E. | Sinagua Rock Art: Petroglyphs at Lizard Man Village | 83-114 |
| 15 | Allen, Mary K. | New Frontiers in Rock Art: the Grand Canyon | 48-70 |
| 15 | Benson, Arlene and Buckskin, Floyd | Achomawi Jumping Rocks and the Concept of the Test | 31-38 |
| 15 | Conway, Thor | Ojibwa Oral History Relating to 19th Century Rock Art | 11-26 |
| 15 | McCarthy, Daniel F. | California Archaeological Inventory and Rock Art Studies | 39-47 |
| 15 | McGowan, Charlotte | The Piasa: One Community's Preservation of its Rock Art | 1-10 |
| 15 | Miller, Frances J. | Investigations at Y:3:1: (BLM) Archaeological District: An Example of Multiple Features in Association with Rock Art in Southwestern Arizona | 105-110 |
| 15 | Murray Ph.d., Wm. | Antlers and Counting in Northeast Mexican Rock Art | 71-79 |
| 15 | Scheller, Donald T. | New and Nontraditional Films for Rock Art Recording | 111-115 |
| 15 | Weaver Jr., Donald E. and Slominski, Nancy | Turkey Tanks: A Prehistoric Wayfarer Rest Stop? | 80-103 |
| 15 | Weinberger, Gay | Distinctions in the Archaeological Context of Cupules | 27-30 |
| 16 | Arratia, Leticia Gonzalez | Current State of Research in Petroglyphs in the Northern Mexican States of Coahuila and Nuevo Leon | 177-187 |
| 16 | Bock, Frank and A.J. | A Review of an Attempt to Restore Petroglyphs Using Artificial Desert Varnish at Petrified Forest, Arizona | 35-48 |
| 16 | Boyd, Douglas K. | Aboriginal Rock Art of Justiceburg Reservoir: A Regional Perspective for the Texas Panhandle-Plains | 123-145 |
| 16 | Crotty, Helen K. | Formal Qualities of the Jornada Style and Pueblo IV Rock Art: A Comparison with Implications for the Origins of Pueblo Ceremonialism | 147-166 |
| 16 | Gordon, Mary | Cupule Petroglyphs in Tulare County, California | 227-236 |
| 16 | Hedges, Ken | Repainting in Kumeyaay Rock Art: Vandalism, Defacement, or Renewal? | 63-70 |
| 16 | Hyder, William D. and Lee, Georgia | Modoc Rock Art: a Reevaluation | 237-252 |
| 16 | Labadie, Joseph H. | Current Rock Art Research at Amistad Recreational Area, Southwest Texas | 81-92 |
| 16 | Lee, Georgia | The Protection of Rock Art Sites | 1-9 |
| 16 | McCarthy, Daniel F. | Rock Art Management Considerations at Lake Perris State Recreation Area, Riverside County, California | 71-79 |
| 16 | Murray, William Breen and Nunez, Juan Pablo Camacho | Caballito Blanco (Oaxaca): Rock Art and Astronomy Context | 167-176 |
| 16 | Ralph, Ronald W. | Seminole Canyon State Historic Park: An Inventory of Rock Art Conservation | 93-97 |
| 16 | Smits, Lucas G.A. | Research on the Rock Art of Southern Africa in the 1980's | 11-19 |
| 16 | Strange, William C. | Bear Country: Likeness in Rock Art | 211-225 |
| 16 | Strecker, Matthias | Rock Art Paintings of Lajasmayu, Betanzos, Department of Potosi, Bolivia | 189-210 |
| 16 | Turpin, Solveig A. | Speculation on the Age and Origin of the Pecos River Style, Southwest Texas | 99-122 |
| 16 | Veni, George | Geologic and Management Considerations in the Preservation of the Maya Naj Tunich Paintings, Peten, Guatemala | 49-61 |
| 16 | Wainwright, Ian N.M. and Stone, Thomas G. | Experiments to Remove Wax Crayon from Petroglyphs in Marble | 21-33 |
| 17 | Bahn, Paul G. | Alice in Wonderland, or Through the Looking Glass? | 1-5 |
| 17 | Barabas, Bryn Marie | Ex Situ: Conserving Rock Art Records | 6-10 |
| 17 | Bock, Frank and Bock, A.J. | The Birdheaded Figure of the Southwest in Psychopomp | 11-28 |
| 17 | Burkholder, Grace | Clark County, Nevada, Calendrical Markers | 29-35 |
| 17 | Christensen, Don D. | Pre-Pueblo Rock Art in the Little Colorado River Drainage | 36-43 |
| 17 | Hedges, Ken and Hamann, Diane | Look to the Mountaintop: Rock Art of Texas Hill, Arizona | 44-55 |
| 17 | Kolber, Jane | The Rock Art of the San Pedro River, Cochise County, Arizona | 56-62 |
| 17 | Lee, Georgia | The Role of Drawing in Rock Art Documentation | 63-67 |
| 17 | Lee, Georgia and Hyder, Willam D. | Symbol and the Importance of Place: The Painted Rock of the Carrizo | 47-55 |
| 17 | McCreery, Pat | Two Ritual Objects in Rock Art of the Lower Puerco, Little Colorado Region, Arizona | 68-83 |
| 17 | Ritter, Eric W. | A Problem of Style, Settlement, and Subsistence: Rock Art at Arroyo San Juan and Los Horconcitos, Baja California Sur, Mexico | 84-101 |
| 17 | Steinbring, Jack | Phenomenal Attributes: Site Selection Factors in Rock Art | 102-113 |
| 17 | Stoney, Stephan A. | What Do We Know About Sheep Symbolism in Southern Nevada? | 114-123 |
| 17 | Strange, William C. | Touchstone: A Strong Role for Rock Art in Native American Studies | 124-129 |
| 18 | Bock, A.J. and Lee, Georgia | Footsteps to Destruction: A Guide for Visiting and/or Recording Rock Art Sites | 23-26 |
| 18 | Davenport, Marietta A. Hanson, John A. and Lesko, Lawrence M. | The Rocks Remember. . . The Art of Snake Gulch | 65-70 |
| 18 | Dorn, Ronald I. | Paleoenvironmental Signals in Rock Varnish on Petroglyphs | 1-17 |
| 18 | Hedges, Ken | The Petroglyphs of Zion Wash | 53-63 |
| 18 | Labadie, John Antoine | Rock Art of Ohio: Looking into the Past and Establishing an Agenda for the Future | 105-112 |
| 18 | Labadie, Joseph H. | Petroglyphs and Rock Engravings in the Lower Pecos Region of Southwestern Texas and Northern Mexico | 71-80 |
| 18 | Ritter, Eric W. and Parkman, E. Breck | Rock Art of the Foothills of the Northern Sierra Nevada - Southern Cascade Range Interface | 81-104 |
| 18 | Russ, Jon, Hyman, Marian and Rowe, Marvin W. | Dating and Chemical Analysis of Pecos River Style Petroglyphs | 35-42 |
| 18 | Sanger, Kay Kennedy | Making Our Work in Rock Art Count | 19-22 |
| 18 | Strange, William C. | Naramata and the Eskimo Tease | 113-118 |
| 18 | Watchman, Alan | Potential Methods for Dating Rock Paintings | 43-51 |
| 18 | Weinberger, Gay and Gordon, Mary | A Computer Compilation of Rock Art Data in Tulare County | 27-33 |
| 19 | Bahn, Paul G. | The Rock Art of China: The Longest Known and Least Known | 1-7 |
| 19 | Chaffee, Scott D., Hyman, Marian and Rowe, Marvin W. | Direct Dating of Pictographs | 23-30 |
| 19 | Dorn, Ronald I. and Jones, Trinkle Ann, Bock, A.J. and Bock, Frank | Preliminary Data on Radiocarbon Dating of Petroglyphs at Petrified Forest National Park, Arizona | 31-39 |
| 19 | Hedges, Ken and Hamann, Diane | The Rock Art of White Tanks, Arizona | 57-69 |
| 19 | Hogue, Kathleen | Conservation Measures for the Rock Art of Kachina Panel, Southeast Utah | 17-21 |
| 19 | Marcus, Deborah and Noxon, John | Rock Art of the Tassili Plateau, The Sahara, Africa | 89-97 |
| 19 | Scheller, Donald T. | Site and Design Similarities in Rock Art And Urban Graffiti | 41-48 |
| 19 | Stoney, Stephan A. | Cupule Rock Art in Southern Nevada: An Analysis | 49-56 |
| 19 | Strange, William C. | Learning to Say Circle: The Costly Grammer of a Herd | 9-16 |
| 19 | Weaver Jr., Donald E. | The Rock Art of the White Mountains-Mogollan Rim Area of Eastern Arizona | 71-88 |
| 20 | Abel, Brent | Proposed Investigations at Two Western Archaic Petroglyph Sites Near Pecos, New Mexico | 13-18 |
| 20 | Christensen, Don D. | Rock Art Research: Retrospect and Future Considerations | 1-6 |
| 20 | Greer, John | The Painted Rock Art of Southwestern Venezuela: Context and Chronology | 45-58 |
| 20 | Greer, Mavis and Greer, John | Sun River Pictographs in Central Montana | 25-33 |
| 20 | Hedges, Ken | Oatman Point: New Discoveries on the Lower Gila | 7-12 |
| 20 | Mark, Robert and Newman, Evelyn | Management of Petroglyph Rubbing at Two Pacific Northwest Coast Sites | 19-24 |
| 20 | Maxwell, T.J. | The Narrative of Pictograph, CA-VEN-314 | 69-76 |
| 20 | Parkman, E. Breck | Lungumari Puntilla: A Cupule Petroglyph Occurrence on the South Coast of Peru | 35-44 |
| 20 | Sanger, Kay | Analyzing Border Site Use with Rock Art at Carneros Rocks | 59-67 |
| 21-1 | Faulstich, Paul | Introduction: Rock Art As Visual Ecology | 1-5 |
| 21-1 | Schaafsma, Polly | Rock Art, World Views, and Contemporary Issues | 7-20 |
| 21-1 | Parkman, E. Breck | Pomoan Concepts of Power, Spirit, and Place | 21-29 |
| 21-1 | Hyder, William D. | Basketmaker Spatial Identity: Rock Art as Culture and Praxis | 31-42 |
| 21-1 | Lenssen-Erz, Tilman | Metaphors of Intactness of Environment in Namibian Rock Paintings | 43-54 |
| 21-1 | Hartley, Ralph J., and Anne M. Wolley Vawser | Wayfinding in the Desert: Evaluating the Role of Rock Art Through GIS | 55-76 |
| 21-1 | Sanger, Kay | A Fish Story: Realism or Symbolic Communication? Arroyo de las Piedras Pintas, Baja California | 77-91 |
| 21-1 | Strange, William C. | Laughter at Batequi | 93-100 |
| 21-2 | Odegaard, Nancy | Approaches to the Care of Cultural Resources: Some Background of the Conservation Profession | 1-5 |
| 21-2 | Bricker, Felton, Thomas Holcomb, and J. Claire Dean | A Native American's Thoughts on the Preservation and Conservation of Rock Art | 7-9 |
| 21-2 | Lim, Imogene L. | Rock Art as a Cultural Heritage: Strategies for Administration | 11-20 |
| 21-2 | Dean, J. Claire | Hardware Store Conservation: Why This Week's 'Best Buy' May Not Be Such a Bargain | 21-26 |
| 21-2 | Dandridge, Debra, and Allen E. Kane | Vogel Canyon: A Case History of Federal Agency Rock Art Resource Management | 27-32 |
| 21-2 | Howard, Julia A., and Constance S. Silver | The Comprehensive Preservation and Conservation Program for the Rock Art of Sego Canyon, Utah | 33-40 |
| 21-2 | Griswold, John | Camouflaging Graffiti: The Problem of Outdoor Inpainting | 41-46 |
| 21-2 | Strecker, Matthias, Freddy Taboada Téllez, and Fernando Huaranca | Rock Art Protection and Conservation in Bolivia | 47-55 |
| 21-2 | Hansen, Jörg W. | The State of Rock Art Preservation and Climatic Change: An Example from the Central Sahara Desert | 57-59 |
| 21-3 | Bahn, Paul G. | Rock Art: World Heritage | 3-8 |
| 21-3 | Bru, Margarita | The Cave of Los Casares (Guadalajara) “ | 11-15 |
| 21-3 | Ghinea, Virgile | Prehistoric Art Interpretation, the Holographic Method” | 17-22 |
| 21-3 | Harrod, James B. | Highlights of the Decipherment of Upper Paleolithic (European): A Protolanguage of the Human Spirit” | 23-32 |
| 21-3 | Jorge, VÌtor Oliveira, and Susana Oliveira Jorge | Rock Art in Portugal: From the Palaeolithic to the Iron Age” | 33-47 |
| 21-3 | Contreras Barragán, Blanca Eréndira, and César Armando Quijada López | The Petroglyphs of “‘El Pedregoso’ In Sonora, Mexico” | 51-60 |
| 21-3 | de la Luz Gutiérrez, María, and Justin Hyland | Report on the Proyecto Arte Rupestre Sierra de San Francisco, Baja California Sur, Mexico” | 61-68 |
| 21-3 | Lewenstein, Suzanne | Rock Art of the Sierra Tarahumara, Chihuahua, Mexico: a Question of Cultural Affiliation” | 69-77 |
| 21-3 | Quijada López, César Armando, and Eréndira Contreras Barragán | Rock Art in Sonora / El Arte Rupestre en Sonora” | 79-102 |
| 21-3 | Quijada López, César Armando | The Rupestres Paintings in Tonatico, State of Mexico. “ | 103-114 |
| 21-3 | Lee, Georgia | Hawaiian Petroglyphs: Recent Research | 117-130 |
| 21-3 | Millerstrom, Sidsel, and Tricia Allen | Carved Rocks and Punctured Skins: An Analysis of Corresponding Tattoo and Carved Rock Images and Their Social Implications in the Ancestral Marquesas Islands and French Polynesia | 131-138 |
| 21-3 | Stasack, Edward, Ronald Dorn, and Georgia Lee | The Petroglyphs of Kaho’olawe Island, Hawai’i | 139-146 |
| 21-3 | González Arratia, Leticia | The Making of Petroglyphs, as a Historical Conception of Time | 149-154 |
| 21-3 | Greer, John, and Mavis Greer | Human Figures in the Cave Paintings of Southern Venezuela | 155-166 |
| 21-3 | Hernández Llosas, María Isabel | Rock Art in Argentina: Method and Advances in Regional Archaeological Research | 167-182 |
| 21-3 | Hernández Llosas, María Isabel | A Unique Discovery at the End of the Continent: ‘Perspective,’ A Technique Used To Design A Complex Rock Art Motif | 183-184 |
| 21-3 | Coy Fred E., Jr. | Kentucky Petroglyphs, Two Cases of Mistaken Identity | 187-196 |
| 21-3 | Faulkner, Charles H. | Rock Art in the Underworld: Petroglyphs, Pictographs, and Mud Glyphs in Southeastern United States Caves | 197-203 |
| 21-3 | Heyd, Thomas | Contemporary Significance of Northern Plains ‘Medicine Wheels’ | 205-213 |
| 21-3 | Pye, Carolyn | Sun Paints at La Cueva Pintada | 215-219 |
| 21-3 | Tratebas, Alice M. | Paleo-Indian and Archaic Petroglyphs on the Northern Plains | 221-235 |
| 21-3 | Waller, Steven J. | Acoustical Characteristics of North American Rock Art Sites | 237-240 |
| 21-3 | Whitley, David S. | Ethnohistory and Rock Art in South-Central California | 241-258 |
| 21-3 | Burton, Jeffery F. | Late Pueblo Iconography in Petrified Forest Rock Art: Implications for the Origin and Development of the Kachina Cult | 261-271 |
| 21-3 | Davenport, Marietta | Rock Art Sites as Components of the Recreational and Spiritual Landscape in Sedona Arizona | 273-276 |
| 21-3 | Farrell, Mary Margaret, and Jeffery Franz Burton | Rock Art of the Southeastern Arizona Sky Islands: Eighty Sites on the Coronado National Forest | 277-288 |
| 21-3 | Maddock, Caroline S. | The Sedona Pictograph Tradition | 289-300 |
| 21-3 | Schoonover, Grace, and Jane Kolber | Chavez Pass A Prehistoric Trading Center and Rock Art Concentration in Central Arizona | 301-310 |
| 21-3 | Serface, Roberta K. | Study of Rock Art in Arizona | 311-317 |
| 21-3 | Benson, Arlene, Floyd Buckskin, and Ruby George | Tracing the Sun's Shadow | 321-338 |
| 21-3 | Chamberlain, Von Del | Star Tracks: Astronomical Motifs in American Southwest Rock Art | 339-346 |
| 21-3 | Diethelm, Inge , and Heinz Diethelm | The Rock Carvings of Alp Carschenna, Switzerland | 347-352 |
| 21-3 | Krupp, E.C. | Archaeoastronomy Unplugged: Eliminating the Fuzz Tone from Rock Art Astronomy | 353-369 |
| 21-3 | Murray, William Breen | Sky Symbolism in Huichol/Cora Religious Traditions as A Guide to Understanding Northeast Mexican Rock Art | 371-379 |
| 21-3 | Rafter, John Michael | Ethnography: An Alternate Pathway to the Stars | 381-385 |
| 21-3 | Sofaer, Anna | Pueblo Bonito Petroglyph on Fajada Butte: Solar Aspects | 387-392 |
| 21-3 | Scott, David A. | Scientific Study of Chumash Indian Rock Art Pigments and Surface Deposits | 395-410 |
| 21-3 | Züchner, Christian | Some Remarks on the Petroglyphs of Northwestern Spain | 413-418 |
| 21-3 | Clegg, John | Gavin Souter's Boats | 423-432 |
| 21-3 | Jobling, W. J. | Recording Rock Art in Jordan | 433-437 |
| 21-3 | Davis, Nola Montgomery | Photocopying Paintings of Rock Art for Curation | 439-443 |
| 21-3 | Davis, Nola Montgomery | Measuring Rock Art with the Aid of Lasers | 445-447 |
| 21-3 | Stickney, Teddy | Ethical Standards | 449-451 |
| 21-3 | LaForge, Aline | Trailside Scratched Petroglyphs Along the Lower Colorado River | 455-462 |
| 21-3 | Ritter, Eric W. | Archaeological Context and Explanation for Nevada's Massacre Bench Scratched Rock Art | 463-484 |
| 21-3 | Vierra, Robert K., Alvin R. McLane, and James D'Angelo | The Easter Rock Art Site Scratched Petroglyphs in Lander County, Nevada | 485-498 |
| 21-3 | Cochran, Kjersti Ann | Lung/ Palulukang Chinese ‘Dragon’ / Hopi ‘Water Serpent’ | 501-504 |
| 21-3 | Mandt, Gro | Material Culture and Myth: Snake Symbolism in Nordic Prehistory | 505-512 |
| 21-3 | Ritter, Dale W. | The Adored Abhorred Splendored Serpent | 513-538 |
| 21-3 | Hedges, Ken | Images of the Spirit World Vision Imagery and Spirit Beings in North American Rock Art | 541-557 |
| 21-3 | Hyder, William D., and Georgia Lee | The Shamanic Tradition in Chumash Rock Art | 559-586 |
| 21-3 | Smits, Luc | Trance-related Themes in the Rock Art of Lesotho | 567-570 |
| 21-3 | Strange, William C. | Too Many Shamans; Reaching for Context at Rochester Creek | 571-580 |
| 21-3 | Valadez Moreno, Moisés | Ceremonialism and Shamanistic Representations in Nuevo Leon, Mexico | 581-586 |
| 21-3 | Warner, Jesse Earl | Shamanism and the World of Light and Shadow | 587-601 |
| 21-3 | Koskenmaki, Joyce | Moral and Ethical Dilemmas in the Appropriation of Rock Art Images: An Artist's Journey | 605-608 |
| 21-3 | Seglie, Dario | Rock Art: Cultural and Noncultural Aspects | 609-613 |
| 21-3 | Warner, Jesse E. | Sacred Space and Sacred Place, Both A Part of the Sacred Landscape of Power | 615-632 |
| 21-3 | Warner, Judith S., and Jesse Warner | Faces in the Shadows Can Talk to You | 633-648 |
| 22 | Bostwick, Todd W. | Managing Rock Art in an Urban Setting: The Challenges of South Mountain Park | 119-128 |
| 22 | Bullen, Margaret U. | Shamanic Portals: Do They Ocur in Australian Rock Art? | 103-110 |
| 22 | Dean, J. Claire | Grappling with Graffiti at Petroglyph National Monument,&8221; | 111-117 |
| 22 | Freers, Steven M. | Lending a ‘Hand’ to the San Luis Rey Style | 57-78 |
| 22 | Greer, John, and Mavis Greer | 1995 Rock Art Fieldwork in Southern Venezuela | 79-94 |
| 22 | Greer, Mavis, and John Greer | An Evaluation of Abstract Figures in Central Montana Rock Art | 29-36 |
| 22 | Hedges, Ken, and Hamann, Diane | Recording the Rock Art at Indian Hill, Anza-Borrego Desert State Park | 37-56 |
| 22 | Kirsch, Russell A. | Using Computers to Describe Style | 153-160 |
| 22 | Maddock, Caroline S. | The Face of Solstice | 179-184 |
| 22 | Malotki, Ekkehart | The Owl: A Shamanistic Motif in the Archaic Rock Art Iconography of the Palavayu Anthropomorphic Style, Northeastern Arizona | 1-18 |
| 22 | Monteleone, Sue Ann | Great Basin Rock Art: Numic Tradition or Multicultural Diversity | 19-28 |
| 22 | Moore, Elanie | A Rock Art Drawing Survey | 129-152 |
| 22 | Sayther, Terry, Deborah Stuart, and Allan Cobb | Pictographic Rock Art in Actun Kaua, Yucatan, Mexico | 95-102 |
| 22 | Sutherland, Kay | Mesoamerican Ceremony Among the Prehistoric Jornada Mogollon | 161-178 |
| 23 | Bilbo, Barbara | The Slaughter Canyon (New) Cave Pictograph Site, Carlsbad Caverns National Park, New Mexico | 49-56 |
| 23 | Bilbo, Michael | Carlsbad Caverns Natural Entrance Pictogrpah Sites 1 and 2, Carlsbad Caverns National Park, New Mexico | 41-47 |
| 23 | Blanchard, Dawn L. | Shamans and Master Artists: Understanding the Parallels in Rock Art | 183-188 |
| 23 | Bury, Rick | House of the Sun: The Seasons. A Photo Essay with Six Images | 161-168 |
| 23 | Douglass, Amy A. | From Rock Outcrop to Museum Exhibit: Teaching the Public About Rock Art | 189-193 |
| 23 | Ewing, Eve | Preliminary Report on Crack Feature Incorporation from the Franco-Cantabrian Regions of France and Spain | 147-160 |
| 23 | Green, John W. | The Four Seasons Rock Art Shelter: A Solar Seasonal-Indicator Site in a Texas Big Bend Region Pictograph Shelter | 203-210 |
| 23 | Greer, John, and Mavis Greer | Dark Zone Rock Art in Surratt Cave, in a Deep Cavern in Central New Mexico | 25-40 |
| 23 | Greer, Mavis, and John Greer | Bear Imagery in Central Montana Rock Art | 85-94 |
| 23 | Hawkins, Bill, Arie, Jane C., Loendorf, Larry L., and Leo Karpinski | Lessons Learned: Recording Sites and Assigning Ages to Rock Art Panels | 103-110 |
| 23 | Hedges, Ken, and Diane Hamann | Three Pueblo Rock Art Sites on the Nellis Air Force Range | 111-120 |
| 23 | Hyman, Marian, and Marvin W. Rowe | Plasma-Chemical Extraction and AMS Radiocarbon Dating of Rock Paintings | 1-9 |
| 23 | Kirsch, Russell A. | Photogrammetric Reconstruction of Petroglyphs | 177-182 |
| 23 | Malotki, Ekkehart | The Dragonfly: A Shamanistic Motif in the Archaic Rock Art of the Palavayu Region in Northeastern Arizona | 57-72 |
| 23 | McNew, Judie, and Larry L. Loendorf | Pups, Suckers and Cats: Fish on the Rocks in Dona Ana County, New Mexico | 95-101 |
| 23 | Moore, Elanie A. | Rock Art Drawing Survey: Implications | 169-176 |
| 23 | Quijada, Cesar A., Kolber, Jane, and Erendira Contreras | The Rock Paintings of El Leoncito, Sonora, Mexico | 137-145 |
| 23 | Scott, Eric | Mogollon Rock Art at Bigelow Crossing: An Inter-Regional Comparison | 121-126 |
| 23 | Steinbring, Jack, and Anthony P. Buchner | Cathedrals of Prehistory: Rock Art Sites of the Northern Plains | 73-84 |
| 23 | Stephenson, Christine M. | Shamanism and the Rock Art of Bigelow Crossing | 127-136 |
| 23 | Stickney, Teddy | Lower Pecos River Style: Rock Art Recording Manual | 195-202 |
| 23 | Welsh, Peter H., and Ronald I. Dorn | Critical Analysis of Petroglyph Radiocarbon Ages from Coa, Portugal and Deer Valley, Arizona | 11-24 |
| 24 | American Rock Art Research Association | American Indian Rock Art. Guidelines for Authors | 129-132 |
| 24 | Bock, Frank G. | American Indian Rock Art. Notice to Authors | 127-128 |
| 24 | Bostwick, Todd W. | Rock Art Mask Designs in the South Mountains, Arizona | 1-12 |
| 24 | Bostwick, Todd W., and J. Claire Dean | An Experiment in Removing Spray Paint Graffiti from a Hohokam Rock Art Panel with Graffiti-B-Gone | 103-112 |
| 24 | Hyder, William D. | The C. Mark Oliver Award: Recognizing Excellence in Rock Art Photography | 113-114 |
| 24 | Malotki, Ekkehart | The Rake: A Polysemous Motif in the Shamanistic Rock Art Iconography of the Palavayu Anthropomorphic Style, Northeast Arizona | 13-28 |
| 24 | Martin, Clay | The Rock Paintings of Hueco Tanks | 115-126 |
| 24 | McCarthy, Daniel F. | Index to American Rock Art Research Association Publications | 133-172 |
| 24 | Pace, M.F.N., M. Hyman, M. W. Rowe, and J. R. Southon | Chemical Pretreatment on Plasma-Chemical Extraction for 14C Dating of Pecos River Genre Rock Paintings | 95-102 |
| 24 | Sayther, Terry T. | Rock Art of Coahuila II. Twelve New Pecos Sites and the Electric Cross | 77-84 |
| 24 | Steinbring, Jack | The Rock Art of Wisconsin | 49-63 |
| 24 | Tratebas, Alice M | Evidence of Paleo-Indian and Archaic Hunting Techniques | 65-75 |
| 24 | Waller, Steven J. | Spatial Correlation of Acoustics and Rock Art Exemplified in Horseshoe Canyon | 85-94 |
| 24 | Woody, Alanah, and Alvin R. McLane | The Distribution of Vulviforms on White Tuff in Nevada | 29-48 |
| 25 | Bostwick, Todd W. | Hourglass Anthropomorph Petroglyphs in the South Mountains, Arizona | 121-132 |
| 25 | Briot, Alain | Little Petroglyph Canyon. A Portfolio of Photographs by Alain Briot | 203-212 |
| 25 | Bury, Rick | Too Many Shamans: Ethics and Politics of Rock Art Interpretation | 149-154 |
| 25 | Christensen, Don D., Jerry Dickey, and David Lee | Regional Variation in Rock Art Styles in the Southern Great Basin: A View from the East Mojave | 69-80 |
| 25 | Gilreath, Amy J. | The Archaeology and Petroglyphs of the Coso Rock Art Landmark | 33-44 |
| 25 | Hedges, Ken | Notes on Basic Methods of Recording Rock Art: Philosophies and Procedures | 191-202 |
| 25 | Lever, Janet | Rock Art at the Source | 213-222 |
| 25 | Loendorf, Lawrence | Dinwoody Tradition Petroglyphs of Northwest Wyoming and Their Relationship to Coso Mountain Petroglyphs of Eastern California | 45-55 |
| 25 | Malotki, Ekkehart | The Use of Hallucinogenic Plants by the Archaic-Basketmaker Rock Art Creators of the Palavayu, Northeast Arizona: The Case for Datura | 101-120 |
| 25 | Mark, Robert, and Evelyn Billo | A Stitch in Time: Digital Panoramas and Mosaics | 155-168 |
| 25 | McCarthy, Daniel F. | Index. American Rock Art Research Association Publications | 237-274 |
| 25 | McNeil, Lynda D. | The Indian Bear Dance: Related Myths and Bear Glyphs | 133-139 |
| 25 | Mich, Kerri J., and Milford R. Fletcher | The Resurvey of Petroglyph National Monument: A New Approach to an Old Problem | 169-178 |
| 25 | Monteleone, Sue Ann, and Alanah Woody | Changing Light in the Cosos | 57-68 |
| 25 | Ritter, Dale W. | Cultural Contact Rock Art Records in North America | 223-236 |
| 25 | Ritter, Eric W. | Boundary, Style and Function: Extrapolations from Keno, Oregon Petroglyphs | 81-100 |
| 25 | Sayther, Terry and Deborah Stuart | Rock Art of Northeastern Mexico: Petroglyphs of Coahuila and Nuevo Leon | 141-148 |
| 25 | Waller, Steven J., David Lubman, and Brenda Kiser | Digital Acoustic Recording Techniques Applied to Rock Art Sites | 179-190 |
| 25 | Whitley, David S., Simon Joseph M., and Ronald I. Dorn | The Vision Quest in the Coso Range | 1-31 |
| 26-1 | Albagli de Almeida, Guilherme | Remarks on Rock Art in the State of Bahai, Brazil | 1-6 |
| 26-1 | Berrier, Margaret K. | Proposed Documentation and Storage of Data Related to Acoustical Phenomena at Rock Art Sites | 7-18 |
| 26-1 | Buchner, A. P., S. Hathout, and B. Russell | Digital Enhancement of a Prehistoric Rock Painting from Hazlet, Saskatchewan | 19-24 |
| 26-1 | Callahan, Kevin, L. | Minnesota's Red Rock and Other Sacred Boulders of the Upper Midwest | 25-32 |
| 26-1 | Christie, Jessica J. | Inca Rock Sculpture in the Sacred and Political Landscape | 33-38 |
| 26-1 | Clouse, Robert Alan | Sustainability: Towards a Comprehensive Management Plan for Rock Art Sites | 39-45 |
| 26-1 | Gillette, Donna, Billo, Evelyn, and Robert Mark | From Gang Hangout to Educational Resource—Reclaiming a Cultural Treasure | 47-52 |
| 26-1 | Gronemann, Barbara J. | Research and Recording of Relocated Rock Art | 53-60 |
| 26-1 | Khan, Majeed | Human Figures in the Rock Art of Saudi Arabia | 61-66 |
| 26-1 | Kolber, Jane | Variations of Human Figures Throug Time and Space at Baird's Chevelon Steps | 67-74 |
| 26-1 | Murray, Wm. Breen | Rock Art Sites of Northeast Mexico: Recent Explorations | 75-80 |
| 26-1 | Quijada, Cesar A., and Jane Kolber | The Rock Art of Cantera, Sonora, Mexico | 81-92 |
| 26-1 | Sayther, Terry T. | Rock Art in Perpetuity: One Man's Journey from Paper and Silver to Digital Image and CD | 93-96 |
| 26-1 | Stanley, Lori A. | Recent Developments in Iowa Rock Art Research | 97-104 |
| 26-1 | Sundstrom, Linea | Rock Art Studies and the Direct Ethnographic Approach: Cas Studies from the Black Hills Country | 105-114 |
| 26-1 | Thiessen, Thomas D., and Charles R. Bailey | The Pipestone Petroglyphs | 115-126 |
| 26-1 | Whitley, David S. | Use and Abuse of Ethnohistory in the Far West | 127-154 |
| 26-1 | Whittaker, John C., Sarah Koeman, and Rachel Taylor | Some Experiments in Petroglyphs Technology | 155-168 |
| 26-1 | Woody, Alanah | Linking Past and Place: The Construction and Maintenance of Tradition | 169-178 |
| 26-2 | Aguilar Torres, Newman | Pictografias de la Laguna de los Condores: Leymebamba - Peru | 231-245 |
| 26-2 | Arca, Andrea | Walking on the Rock Art Paths | 63-70 |
| 26-2 | Brunod, Giseppe, Walter Ferreri, and Gaudenzio Ragazzi | The Camunian Rose of Carpene, Sellero (Valcamonica, Italy) | 155-158 |
| 26-2 | Clarkson, Persis B. | Contextual Archaeological Approaches to Geoglyphs in Northern Chile: Extending the Theoretical Landscape | 191-198 |
| 26-2 | Coffman, Ralph | Rock Art and Early Cultural Diversity in Xingiang, China | 87-102 |
| 26-2 | Comba, Enrico | Rock Art, Museums, and the Construction of Cultural Memory | 55-58 |
| 26-2 | Consens, Mario | Vikings and Rock Art in Paraguay: Ethno-Anthropological Discrepancies | 209-214 |
| 26-2 | Consens, Mario, Anna Maria Bello, and Graciela Rodriguez | Discourses around Exhibitions: Anthropological Analysis of Experiences in Rock Art Diffusion | 49-54 |
| 26-2 | Devlet, Ekaterina | Some Anthropomorphic and Ornithomorphic Images: The American-Asian Parallels | 103-112 |
| 26-2 | Diethelm-Loch, Inge, and Heinz Diethelm-Loch | Teaching Rock Art in Switzerland: A Country without Major Rock Art Sites | 159-160 |
| 26-2 | Dolgovessova, Elena | The Ritual Erotic Plots on the Rock Images of Southern Siberia | 113-118 |
| 26-2 | Garcia, Linda Clara, and Paola Silvia Ramundo | They are Going over our Heads! ‘Nos Pasan por Encima!’ | 199-208 |
| 26-2 | Gili, Maria Laura | Los Signos Rupestres del Cerro Intihuasi. Cordoba. Sur de la Sierra de Comechingones. Argentina | 175-182 |
| 26-2 | Grove, Margaret | The Dancing Figures of Arnhem Land | 119-134 |
| 26-2 | Gutierrez, Manuel | El Papel de la Educacion en la Conservacion del Arte Parietal un Ejemplo Interesante: El Caso de Angola | 77-86 |
| 26-2 | Harper, Kevin and Ann Alger | Interpreting the Past and Looking to the Future: Rock Art Education at the Deer Valley Rock Art Center | 45-48 |
| 26-2 | Hayashi, Hiroaki | Rock Art Education in Japan | 59-62 |
| 26-2 | Hill, Sharon | Paleolithic Engravings from La Marche: Discovering New Images and Meaning | 141-146 |
| 26-2 | Hows, Mark E.P. | Hill Figures of the U.K. - An Overview | 161-174 |
| 26-2 | Ibarra Asencios, Bebel, and Ricardo Chirinos Portocarrero | El Arte Rupestre en la Sierra Norte del Peru: Petroglifos de Caullumachay Provincia de Huari - Ancash, Peru | 215-220 |
| 26-2 | Kunne, Martin | Petroglyphs in the General Valley, Costa Rica. Problems in their Interpretation | 135-140 |
| 26-2 | Marangou, Christina | Rock-Art and Landscape in Myrina, Island of Lemnos, Greece | 147-154 |
| 26-2 | Marcello, Nadia, and Paola Romero | A School at the Museum | 41-44 |
| 26-2 | Martin, F. Ellen | Rock Art and Public Education in the Southwestern United States | 71-76 |
| 26-2 | Oosterbeek, Luiz, and Ana R. Cruz | Rock Art and Archaeology Education in Portugal | 33-40 |
| 26-2 | Perales Munguia, Manuel F. | Las Pictografias de Cori - Vinchos: Avances en las Investigaciones del Arte Rupestre en la Sub-Cuenca del Rio Pachacayo, Sierra Central del Peru | 221-230 |
| 26-2 | Rocchietti, Anna Marie | Arte Rupestre en la Argentina: Una Nueva Sintesisa | 183-190 |
| 26-2 | Schaleben, Will | Uses of Video - Rock ARt Research, Education, and Preservation | 21-26 |
| 26-2 | Seglie, Dario | Save Rock Art | 27-32 |
| 26-2 | Urban, Sharon F. | Recording a Rock Art Site. What does that Mean? | 1-10 |
| 26-2 | Waller, Steven J. | Rock Art Acoustics in the Past, Present and Future | 11-20 |
| 27 | Ambruster, Carol, and Tony Hull | Chaco Navajo Ceremonial Rock Art and Anasazi Symbols | 25-34 |
| 27 | Blackhorse, Taft | Navajo Rock Art Discussion | 73-75 |
| 27 | Brugge, David M. | A History of Navajo Rock Art Research | 5-16 |
| 27 | Chamberlain, Von Del and Hugh Rogers | On the Trail of Dinetah Skywatchers: Patterned Dots and Scattered Pluses | 49-58 |
| 27 | Christensen, Don D., and Jerry Dickey | The Grapevine Style of the Eastern Mojave of California and Nevada | 185-200 |
| 27 | Clarkson, Persis B. | Art as Science, Science as Art: Aerial Photographic Applications in Rock Art Research | 177-183 |
| 27 | Copeland, James Matthew | Dinetah Ceremonial Rock Art and Cultural Affiliation in Northwest New Mexico | 35-42 |
| 27 | David, Bruno, Ruth Ann Armitage, Marvin W. Rowe, and Ewan Lawson | Landscapes in Transition? New Radiocarbon dates on Cave Drawings from the Mitchell-Palmer Limestone Belt (Northeastern Australia) | 107-116 |
| 27 | Dorn, Ronald I., Edward and Diane Stasack, and Persis Clarkson | Analyzing Petroglyphs and Geoglyphs with Four New Perspectives: Evaluating What's There and What's Not | 77-96 |
| 27 | Freers, Steve | The Hand Prints at CA-RIV-114: A Forensic and Anthropomorphic Study | 319-332 |
| 27 | Gilpin, Dennis | The Talking Rocks of Carson's Wall: Navajo History and Settlement as Revealed at a Multicomponent Rock Art Site in the Chinle Valley, Arizona | 59-66 |
| 27 | Green, Eileen, and Elaine Holmes | Kohta Circus: A Mesoamerican Connection | 293-299 |
| 27 | Greer, Mavis and John Greer | Rock Art and Well Pad Construction: An Example of Conservation from Wyoming | 161-168 |
| 27 | Harry, Karen G., Evelyn Billo, and Robert Mark | The Challenge of Long-Term Preservation: Managing Impacts to Rock Art at Hueco Tanks State Historical Park | 151-159 |
| 27 | Hayden, Nancy Lee | Yavapai Cosmology: Early Timekeepers in the Prescott Area, Arizona | 253-260 |
| 27 | Hedges, Ken | Traversing the Great Gray Middle Ground: An Examination of Shamanistic Interpretation of Rock Art | 123-136 |
| 27 | Kelly, Roger, and Daniel F. McCarthy | Effects of Fire on Rock Art | 169-176 |
| 27 | Kolber, Jane | Introduction: Section Dedicated to Navajo Rock Art | 1-3 |
| 27 | Kolber, Jane | Recording, Protecting, and Studying Navajo Rock Art: A Project in Chaco Canyon | 17-24 |
| 27 | Lever, Janet | In Touch with the Art | 313-318 |
| 27 | Malotki, Ekkehart | The Serpent: A Shamanistic Motif in the Archaic/Basketmaker Rock Art Imagery of the Palavayu Anthropomorphic Style (PASTYLE), Arizona | 237-252 |
| 27 | McLane, Alvin R., and Oyvind Frock | The Star Burst Solar Site, Pah Pah Range, Washoe County, Nevada | 221-226 |
| 27 | McNeil, Lynda D. | Climbing Bear, Spirit Helper: Companion Petroglyphs at Shalabolino (Siberia) and Shavano Valley (Colorado, USA) | 301-312 |
| 27 | Murray, Wm. Breen, and Hector Lazcano | Atlatl Hunters of the Sierra Madre Oriental (Mexico) | 261-267 |
| 27 | O'Connor, J.T. | A Cluster Analysis of Anthropomorphic Symbols in North American Rock Art | 285-292 |
| 27 | Pope, Gregory A. | Weathering Impacts on Petroglyph Engravings and Rock Panels | 97-105 |
| 27 | Quijada, Cesar A. | Rupestres Paintings in the ‘La Madera&$8217; Mountains (aka Wood Mountains), Sonora, Mexico | 269-277 |
| 27 | Quinlan, Angus R., and Alanah Woody | Marking Time at Lagomarsino: An Exploration of the Competing Narratives of Rock Art Studies | 211-220 |
| 27 | Riggs, E. Gene | Atlatl Hunters of the Sierra Madre Oriental (Mexico) | 279-284 |
| 27 | Rogers, Hugh C. | Tracking the Dinetah Hunter: Hunting Themes in Navajo Rock Art | 43-48 |
| 27 | Smith, Courtney R. and David Lee | Pictographs of the Volcanic Tableland, Inyo and Mono Counties, California | 201-210 |
| 27 | Sprague, Jack, and Gale Grasse | Lizard Cave: A Possible Solar Marker at CA-KER-5525 | 227-235 |
| 27 | Weaver Jr., Donald E., Robert Mark, and Evelyn Billo | Inscription Point: Too Little Too Late? | 137-150 |
| 27 | Yoder, Donna | Livestock in Navajo Rock Art: A Reflection of Life | 67-72 |
| 28 | Attorrese, Elisabetta, and Angelo Fossatti | Rock 53 of Vite-Deria: New Elements for the Study of Degradation of Valcamonica Petroglyphs | 103-110 |
| 28 | Hedges, Ken | Rock Art Styles in Southern California | 25-40 |
| 28 | Holmes, Elaine, and Pamela A. Cramer | Legends, Links and Likenesses: Mesoamerican Symbols in Southern Nevada Rock Art | 181-192 |
| 28 | Hyder, William D., and Dario Caloss | Rock Art Styles on the Bishop Volcanic Tablelands | 41-52 |
| 28 | King, Larry | Conservation and Management Concerns in the Development of Rock Climbing Recreation Areas at Three Central Oregon Pictograph Sites | 63-72 |
| 28 | Kolber, Jane and Donna Yoder | Great Anasazi Rock Art of Chaco Canyon: Possible and Probable Implications | 169-179 |
| 28 | LaSarge, Diana R. | The Wallula Stone's Journey: A Cooperative Effort Between Tribal, City and Federal Governments | 57-62 |
| 28 | Mack, Cheryl, and Larry King | Parting the Waters - Re-Discovering the Goose Lake Petroglyphs | 145-150 |
| 28 | Mark, Robert, and Evelyn Billo | Application of Digital Image Enhancement in Rock Art Recording | 121-128 |
| 28 | Merrell, Carolynne L. | Pictograph Perspectives, Photography, and Photo Electronic Imaging: More than Just a Pretty Picture | 73-81 |
| 28 | Murray, William Breen | Rock Art Studies in China | 139-144 |
| 28 | O'Connor, J.T. | The Nampaweap Site Petroglyphs - Stars, Sex and Piñon Nuts? | 193-206 |
| 28 | Pearce, David | Changing Men, Changing Eland: Sequences in the Rock Paintings of Maclear District, Eastern Cape, South Africa | 129-138 |
| 28 | Poetschat, George, James D. Keyser, and Terence E. Fifield | Pictograph Cave in Southeast Alaska: Expanding our Cultural Understanding of Rock Art | 83-93 |
| 28 | Ritter, Eric W. | The Rationalist Scientific Method in Rock Art Studies: The Serendipity Shelter, Nevada, Example | 1-24 |
| 28 | Rogers, Alexander K., and Carolyn A. Shepherd | A Site-Monitoring Partnership at Little Petroglyph Canyon, Coso Range, California | 95-102 |
| 28 | Saville, Dara | Kachina Iconography of Piedras Marcadas Canyon, Petroglyph National Monument | 151-159 |
| 28 | Steelman, Karen L., Marvin W. Rowe, Renald N. Guillemette, Carolynne L. Merrell, and Richard D. Hill | Little Lost River Cave, Idaho: Electron Probe Microanalysis of a Black Deposit Associated with Pictorgraphs | 111-120 |
| 28 | Waller, Steven J. | Sounds of the Spirit World: Auditory Perceptions of Depth at Rock Art Sites | 53-56 |
| 28 | Yoder, Donna and Jane Kolber | The Anasazi Rock Art of Chaco Canyon: A Preliminary Report of Findings | 161-168 |
| 29 | Culley, Elisabeth V. | Examining Metaphorical Reasoning in Rock Art Production: Conceptualizations of Self in Coso Range Imagery | 69-82 |
| 29 | Dandridge, Debra E., and James K. Meen | The Degradation of Rock Art by Lichen Processes | 43-52 |
| 29 | Gillette, Donna, and Teresa Miller Saltzman | So What's a PCN? | 105-109 |
| 29 | Lee, David M., and Courtney R. Smith | Variation, Distribution and Context of Anthropomorphic and Zoomorphic Elements in the Rock Art Record of the Volcanic Tableland | 53-68 |
| 29 | Loendorf, Lawrence L., and Linda Olson | The Tolar Petroglyph Site | 1-10 |
| 29 | Malotki, Ekkehart | Liminal Animals in the Archaic / Basketmaker II Rock Art Iconography of the Palavayu Anthropomorphic Style (PASTYLE), Arizona | 139-154 |
| 29 | Mccall, Grant S. | No Rest for the Foragers? Mobility and Resource Acquisition in Hunter - Gatherer Rock Art | 121-128 |
| 29 | Merrell, Carolynne L. | Buffalo Eddy: A Confluence of Influence as Seen Through its Petroglyphs and Pictographs | 21-31 |
| 29 | Mitchell, Diana | Comments, Diana Mitchell, Fremont County Historic Preservation | 139-154 |
| 29 | Phillips, Ann | Pecked Stone Prayers for Rain and Warmth: Sand Island Petroglyph Panel, Southeastern Utah | 129-138 |
| 29 | Poetschat, George, James D. Keyser, Betty Tandberg, Helen Hiczun, and Pat McCoy | The Beaver Bowl: A Shaman's Petroglyphs in the Northwest Coast Art Tradition | 33-42 |
| 29 | Steinbring, Jack, Jeffrey Behm, and Herman H. Bender | Petroforms in the North American Mid-Continent: A Neglected Phenomenon | 111-120 |
| 29 | Taylor, Michael W., and James D. Keyser | The Columbia Plateau Scratched Style: A Preliminary Interpretation | 11-20 |
| 29 | Whitley, David S. | What is Hedges Arguing About? | 83-104 |
| 30 | Allen, Mary | Comments on: The Esplanade Style: A Reappraisal of Polychrome Rock Art in the Grand Canyon Region, Arizona, by Don Christensen and Jerry Dickey | 86 |
| 30 | Childress, Jane P. | Rock Art and Rock Crawling in Central Arizona | 103-110 |
| 30 | Christensen, Don, and Jerry Dickey | The Esplanade Style: A Reappraisal of Polychrome Rock Art in the Grand Canyon Region, Arizona | 69-85 |
| 30 | Christensen, Don and Jerry Dickey | A Reply to Comments by Allen: The Esplanade Style: A Reappraisal of Polychrome Rock Art in the Grand Canyon Region, Arizona | 87-88 |
| 30 | Dickey, Jerry, and Don Christensen | A Functional Analysis of the Esplanade Style | 89-102 |
| 30 | Garfinkel, Alan P.. and J. Kenneth Pringle | Dating the Rock Drawings of the Coso Range: Projectile Point Petroglyphs | 1-14 |
| 30 | Golio, JJ, and Mike Golio | Hohokam Bola Petroglyphs in the South Mountains of Phoenix | 111-118 |
| 30 | Holmes, Elaine | 26CK6580: A Possible Basketmaker Rock Art Site in Southern Nevada | 15-18 |
| 30 | McCall, Grant S. | Politics and Rock Art: Examining the Utility of Social Structure and Institutions for Explaining Patterns of Rock Art Production | 149-156 |
| 30 | Morales, Jr., Reinaldo and Claudia Cunha | Chapada Diamantina Rock Art: New Evidence of Nordeste Tradition Variations in Bahia, Brazil | 137-148 |
| 30 | Murray, William Breen | Marking Places: Graffiti, Inscriptions, and Rock Art in Northeast Mexico (and Elsewhere) | 129-136 |
| 30 | Ritter, Eric W. | Paradigms and Petroglyphs of the Dry Lakes Plateau, Mono County, California | 19-42 |
| 30 | Robinson, David W. | Tierra Incognita: Rock Art, Landscape Biography, and Archaeological Blind Spots - A Case Study from Interior California | 43-55 |
| 30 | Rogers, Alexander K., and Frances G. Rogers | Rock Art Analysis of the Terese Site, El Paso Mountains, California | 57-67 |
| 30 | Steelman, Karen L., Jane P. Childress, Jane Kolber, Marvin W. Rowe, and Tom Guilderson | San Pedro Eye of the Cave: Painting of the Past Dated for the Present | 119-128 |
| 30 | Waller, Steven J. | Psychoacoustic Implications of Prehistoric Art Inferred from Sound Measurements and Echo Myths | 157-164 |
| 31 | Stickney, Teddy | Preface | vii |
| 31 | Quijada, César A., and Jane Kolber | Las Pinturas Rupestres de El Púlpito, Sonora” or “The Cave Paintings of El Púlpito, Sonora | 1-10 |
| 31 | Scott, Sara A., and Carl M. Davis | Rock Art Conservation, Dating and Protection on the Helena National Forest, West-Central Montana | 11-21 |
| 31 | Bailey, Gay “Gaea” M.A. | Beyond Stargazing: Preservation and Organization of Data Regarding the Navajo Star Ceilings of Canyon de Chelly and Canyon del Muerto | 23-33 |
| 31 | Morales Jr., Reinaldo, and Melisa A. Quesenberry | A Niche in Time: JD-5, Caribbean Cave Art, and the Fourth Dimension | 35-56 |
| 31 | Medina Vidal, Adriana | Un Observarorio Astronomico en la Cueva Tau | 57-67 |
| 31 | Domínguez, Martín C. | Pintura Rupestre y Liminalidad | 69-77 |
| 31 | Vicente López, Julio C | Algunos Petrograbados de Sinaloa | 79-89 |
| 31 | del Razo Canuto, J. Carlo | Icamole, Un Sitio Ritual de Cazadores Recolectores en El Estado de Nuevo León | 91-98 |
| 31 | Hedges, Ken | Rock Art in Town: ‘Pilgrim Marks’ in Santillana del Mar | 99-109 |
| 31 | Christie, Jessica Joyce | The Carved Rock Shrine of Sapantiana in Cusco, Peru | 111-123 |
| 31 | Morales Vigil, Erika, and Aline Lara Galicia | Del Cuacatl Al Cosmos: Pintura Rupestre en la Sierra Norte de Puebla | 125-134 |
| 31 | Frey, Dan, Cesar Quijada, and Jane Kolber | Los Petrograbados y las Pinturas de La Pulsera, Cucurpe, Sonora” or “The Petroglyphs and Pictographs of la Pulsera, Cucurpe, Sonora | 136-154 |
| 31 | Riggs, Gene | Rock Art Frontiers of the Classic Mimbres | 155-163 |
| 32 | Quinlan, Angus R., and Anne McConnell | Preface | vii |
| 32 | Christensen, Don | Dedication “In Memory of Frank G. Bock | ix-x |
| 32 | Christensen, Don D., and Jerry Dickey | The Tusayan Style: Archaic Rock Art in the Grand Canyon Region, Arizona | 1-14 |
| 32 | Lee, David M., and Courtney R. Smith | The Shooting Gallery Archaeological District, Lincoln County, Nevada | 15-24 |
| 32 | Woody, Alanah, and Oyvind Frock | An Experimental Approach to Pigment Analysis-Six Years On | 25-30 |
| 32 | Fletcher, Milford, and Maynard Merkt | Frequency of Occurrence of Classified Petroglyphs at Two New Mexico Sites | 31-44 |
| 32 | Murray, William Breen, and Alejandro Espinosa | The Natural Setting of Sheephorn Petroglyphs in the Eastern Sierra Madre (Nuevo Leon, Coahuila, Mexico ) | 45-51 |
| 32 | Frey, Dan | A Crossroads in Time and Space: The Chiricahua Mountains Pictographs of Rock Canyon | 53-62 |
| 32 | Waller, Steven I. | The Divine Echo Twin Depicted at Echoing Rock Art Sites: Acoustic Testing to Substantiate Interpretations | 63-74 |
| 32 | Monteleone, Sue Ann | Rock Art in Context: Revisiting Captain Jack Shelter | 75-86 |
| 32 | American Rock Art Research Association | Officers and Associates 2005-2006 | 87 |
| 32 | American Rock Art Research Association | Membership Form | 88 |
| 32 | American Rock Art Research Association | Awards | 89-90 |
| 32 | American Rock Art Research Association | Publications 1974-2004 | 91-104 |
| 32 | American Rock Art Research Association | Guidelines for Authors | 105-108 |
| 33 | Don D. Christensen and Peggy Whitehead | Preface | vii |
| 33 | Poetschat, George, James D. Keyser, and Terence E. Fifield | Kosciusko Island Alaska Rock Art | 1-26 |
| 33 | Merrell, Carolynne L. | Lava Tube Cave Pictographs in the Great Rift of Southeastern Idaho | 27-40 |
| 33 | Roberts Timothy E | The Indian Hill Petroglyph Site (14EW1), Ellsworth County, Kansas: New Thoughts About Some Old Questions | 41-52 |
| 33 | Rogers, Richard A | Overcoming the Preservation Paradigm: Toward a Dialogic Approach to Rock Art and Culture | 53-66 |
| 33 | O'Connor, Joe | Mythology and Symbols in North American Rock Art | 67-82 |
| 33 | Garfinkel, Alan P., Geron Marcom, and Robert A. Schiffman | Culture Crisis and Rock Art Intensification: Numic Ghost Dance Paintings and Coso Representational Petroglyphs | 83-104 |
| 33 | van Hoek, Maarten | Atypical Cupules at Two Rock Art Sites in Southeastern Utah | 105-116 |
| 33 | Kalish, Pamela and William Nightwine | Rock Art and Settlement Patterns in the Agua Fria National Monument | 117-122 |
| 33 | Snow, Gerald E. | Petroglyph Calendar Panel at Chavez Pass, Arizona | 123-126 |
| 33 | Christensen, Don D. | Preformative and Early Formative Rock Art of the Kanab Creek Wilderness Area, Arizona | 127-144 |
| 33 | American Rock Art Research Association | Officers 2006-2007 | 145 |
| 33 | American Rock Art Research Association | Awards | 147-149 |
| 34 | Greer, Mavis, and John Greer | The Importance of Rock Art Recording History in Current Research: An Example from Bear Gulch Montana | 1-8 |
| 34 | Poetschat, George, James D. Keyser, and John Greer | Bear Gulch: Fifty Years Later | 9-22 |
| 34 | Ray, Melissa Marie | The Shield Bearing Warriors of Bear Gulch: A Look at Prehistoric Warrior Identity in Rock Art | 23-36 |
| 34 | Kaiser, David, and James D. Keyser | Symbolic Superimposition: Overlapping Shield Bearing Warriors at Bear Gulch | 37-60 |
| 34 | Keyser, James D. | ‘These Curious Appendages’: Medicine Bundles in Bear Gulch Rock Art | 61-72 |
| 34 | Ripps, Lisa F., and James D. Keyser | Spirits on the Wing: Bird Images at Bear Gulch | 73-89 |
| 34 | Greer, Melissa, and James D. Keyser | Women Among Warriors: Female Figures in Bear Gulch Rock Art | 89-104 |
| 34 | Fossati, Angelo Eugenio | Shields and Warriors: Similarities and Differences in the Rock Art of Bear Gulch, Montana, and Valcamonica-Valtellina, Italy | 105-122 |
| 34 | McCall, Grant S., and Marie R. Richards | Exploring Spatial Variation in Rock Art Site Composition at Ndedema Gorge, South Africa | 123-132 |
| 34 | Taylor, Michael W., James D. Keyser, and Phillip Cash Cash | The Role of Women in Columbia Plateau Rock Art | 133-154 |
| 34 | Rodgers, Kendra, and Lawrence Loendorf | The Bear Dance Site: A Ceremonial Rock Art Site in Southeastern Colorado | 155-166 |
| 34 | Sundstrom, Linea | Buffalo Gals: Images of Women in Northern Great Plains Rock Art | 167-180 |
| 34 | Rowe, Marvin W. | River of a Thousand Lingas | 181-190 |
| 34 | Waller, Steven J., and Daniel Arsenault | Echo Spirits Who Paint Rocks: Memegwashio Dwell Within Echoing Rock Art Site EiGf-2 | 191-201 |
| 35 | Keyser, James D., and Christopher D. Adams | Cora Dutton Petroglyphs: A New Mexico ARPA Case | 1-12 |
| 35 | Baker, Pamela | Painted Sites of the Ancestral Puebloans in Chaco Canyon National Historical Park, New Mexico | 13-26 |
| 35 | Russell, Will G., Aaron M. Wright, Tina Carpenter, and Caitlin Guthrie | Stained Rocks and Storied Walls: Fertility, Sexuality, and Rock Art In The Hohokam Landscape | 27-42 |
| 35 | Russell, Will G., and Aaron M. Wright | Footprints To The South: The Search For Proto-Hopi Clan Symbols In The South Mountains Of Phoenix, Arizona | 43-60 |
| 35 | Wright, Aaron M., and Todd W. Bostwick | Technological Styles Of Hohokam Rock Art Production In The South Mountains, South-Central Arizona | 61-78 |
| 35 | Krupp, E. C. | Rock Star | 79-90 |
| 35 | Huang, Jennifer K. K. | Socio-Political Organization On Perry Mesa: What The Rock-Art Suggests | 91-102 |
| 35 | Dickey, Jerry, and Don D. Christensen | A Preliminary Comparison of Colorado Plateau Archaic Rock Art: Barrier Canyon and the Esplanade Styles | 103-120 |
| 35 | Rogers, Alexander K. | An Analytical Tool For Assessing Potential Solar-Oriented Archaeoastronomy Sites | 121-130 |
| 35 | Leska, Amy | Newberry Cave, Mojave Desert, California: A Fresh Look At Newberry Cave And Its Paintings | 131-146 |
| 35 | Lambert, Arnaud F. | The Oaxtepec Megalith, Morelos, Mexico: A Re-Examination | 147-160 |
| 35 | Cuitzeo Domínguez, Martín | Las Manitas Rock Art Site In Cañada De Cisneros, Tepotzotlán, México: An Analysis Using Visual Semiotic Tools | 161-170 |
| 35 | Herrera Maldonado, Daniel | Analysis of the Rock Art Feline Painting in Cueva de La Malinche, Hidalgo, Mexico | 171-185 |
| 35 | Poetschat, George, and James D. Keyser | Atherton Canyon Rock Art: Part of Central Montana’s Bear Gulch Complex | 185-202 |
| 35 | Merrell, Carolynne L., and Ronald I. Dorn | Indian Writing Waterhole and Tom's Spring: Two Central Idaho Petroglyph Sites in the Great Basin Tradition | 203-218 |
| 35 | Swadley, Ben H. | Actively Managing Rock Art Sites | 219-236 |
| 35 | Man-Estier, Elena | Bear Images and Symbols in Prehistoric Art | 237-246 |
| 36 | David Lee | Finding Yidumduma | 1-8 |
| 36 | Donna Gillette and Linda Hylkema | Out of Sight, But Not Out of Mind…Revisiting a Significant Rock Art Site in Southern San Benito County, California | 9-21 |
| 36 | Alexander K. Rogers | A Chronology of Six Rock Art Motifs in the Coso Range, Eastern California | 23-36 |
| 36 | David A. Kaiser, James D. Keyser, Amanda K. Derby, and John Greer | The Bear Gulch Shield Bearing Warrior: Defining a Cultural Type | 37-52 |
| 36 | Sarah Butler, Lynn Dodd, Ashley Sands, and Lucy Harrington | Visualizing the Native American Cultural Landscape: A Significant New Research and Imaging Method | 53-58 |
| 36 | George Poetschat, James D. Keyser, David A. Kaiser, Robin Harrower, and Anthony Farque | Interpreting Cascadia Cave: An Upstream Struggle | 59-70 |
| 36 | Albert Knight | The Rock Art of the Sierra Pelona Mountains, Central Los Angeles County, California | 71-84 |
| 36 | James D. Keyser | Size Really Does Matter: Dating Plains Rock Art Shields | 85-102 |
| 36 | Stephen Allan and Steven J. Waller | Echolocation of Rock Art: Using Sound to Search for Sacred Sites | 103-107 |
| 36 | Angelo Eugenio Fossati, James D. Keyser, and David A. Kaiser | Flags and Banners in Warrior Rock Art: Ethnographic Comparisons for Valcamonica and Bear Gulch Rock Art | 109-124 |
| 36 | Gregory F. Erickson | Post-Transformational Evidence for a Shamanic Soul Trip to Other Worlds | 125-132 |
| 36 | Nahum Z. Solís Dávila and Araceli Rivera Estrada | The Hunter’s Memory and Ritual Space: Interpreting the Rock Art at Loma El Muerto, Nuevo León, México | 133-146 |
| 36 | Jessica Joyce Christie | Inka Carved Rocks and Khipus: Were Some Sculpted Grids Counting Devices Using the Same Structure as Khipus? | 147-158 |
| 36 | Joseph T. O’Connor, Alberto Tesucun, and Josué Martinez Ramirez | Mayan Graffiti/Arte Rupestre | 159-170 |
| 36 | Don D. Christensen | Context and Rock Art in the Cinder Cone Lava Beds, Eastern Mojave Desert, California | 171-181 |
| 36 | Arnaud F. Lambert | The Cupulate Complexes of Chalcatzingo, Morelos: A Preliminary Investigation | 183-192 |
| 37 | In Memory of A. J. Bock | ix | |
| 37 | Solveig A. Turpin | Size Matters: The Transition from Religious to Secular Art in the Lower Pecos Region | 1-16 |
| 37 | Eric Dillingham and Margaret Berrier | A Preliminary Description of the Guadalupe Red Linear Style Components at Ambush Two Hands Shelter and Lost Again Shelter, Guadalupe Mountains, New Mexico | 17-36 |
| 37 | Marvin W. Rowe, Robert Mark, Evelyn Billo, Margaret Berrier, Karen L. Steelman, and Eric Dillingham | Chemistry as a Criterion for Selecting Pictographs for Radiocarbon Dating: Lost Again Shelter in the Guadalupe Mountains of Southeastern New Mexico | 37-48 |
| 37 | Robert Mark, Evelyn Billo, and John Greer | Hunters Shelter and White Oak Springs Pictographs: Pecos Miniature Art in the Guadalupe Mountains of Southern New Mexico | 49-74 |
| 37 | James Burr Harrison III | An Argument for the Expanded Context of Dart-Headed Figures in Pecos River Style Pictographs | 75-92 |
| 37 | Solveig A. Turpin | A Note about Things Worn on the Elbows of Pecos River Style Anthropomorphs: A Were-Cougar Motif from La Mulata, Coahuila | 93-98 |
| 37 | Margaret Greco | Seeps, Springs, and the Pecos River Style Pictographs: ‘Renewing Reality’ in the Light of 25 Years | 99-114 |
| 37 | Shirley Boteler Mock | Portable Rock Art of the Lower Pecos Canyonlands: The Symbolic Work of Women | 115-134 |
| 37 | Megan Biesele | Research Politics and Rock Art Interpretation in Africa: Perspectives for the Lower Pecos | 135-144 |
| 37 | Ken Hedges and Steven M. Freers | A Remarkable Pictograph Site in Western San Diego County, California | 145-160 |
| 37 | Lawrence Loendorf and Laurie White | The Kobold Site: Petroglyphs at a Buffalo Jump in Southeastern Montana | 161-172 |
| 37 | James D. Keyser | The Bedolina Horsemen: A New ‘Twist’ in Perspective | 173-182 |
| 37 | Arnaud F. Lambert | Cup-Marked Stones and the Aztec Ritual Landscape at Chalcatzingo, Morelos, Mexico | 183-188 |
| 37 | Arnaud F. Lambert | Further Notices of a Teotihuacano Presence in the Rock Art of Chalcatzingo | 189-194 |
| 37 | Nahum Solís, Daniel Herrera, and Araceli Rivera | Agency and Structure in South-Central Nuevo Leon: The Petroglyphs at Loma d e Barbechos (Mexico) | 195-208 |
| 37 | Eugenia Robinson, Joseph Reibenspies, and Marvin W. Rowe | Blue Rock Art Paint in Guatemala: Not ‘Maya Blue’ | 209-216 |
| 37 | Patricia Dobrez | Deception Creek: An Architectural Petroglyph Site in South Australia | 217-230 |
| 37 | William Nightwine | Emotional Expression in Southwestern Rock Art | 231-236 |
| 37 | Steven J. Waller | Thunderous Reverberation and Rock Art Storm Imagery | 237-252 |
| 37 | Livio A . C. Dobrez | Looking at our Looking: A New Approach to the Definition of a Rock Art Scene | 253-266 |