The reappropriation of the past in the post-historic age results in vernacular interpretations . Histor y an d prehistor y ar e continuousl y 'democ ratized', opportunistically reconstituted according to a teleology more of commerce, whic h implie s vulgarization , tha n o f relevan t knowledge . Petroglyphs an d roc k painting s (after , o r alon g with , dinosaurs ) coul d not escape this destiny. Declared early on as works of art, the best known became objects of speculative writing and procession sites. One could not exactly collect them, but i f this had been possible, we would have major collectors inviting us to their caves, and many art dealers authenticating a ne w 'unique' wor k with whic h the owne r has t o par t becaus e of the recession (or whatever other lucrative reason). When some of the procession site s ha d t o b e close d du e t o damag e inflicte d b y indiscriminat e visiting practices, simil i — Lascaux II i s the best known — were built in the environs , and th e lesse r know n site s took thei r place . I t woul d be arrogant an d self-defeating to see in the ever increasing popular interes t in thes e 'messages ' fro m ou r ancestor s onl y th e consume r aspec t (a s strong as this actually is). It might be that Only the wrong people travel', at leas t i f we consider the increasing number of sites vandalized an d th e tour packages offered by the tourist industry. Layers over layers of graffit i complete and cover early images, detracting from the primary significance of such places/But once on record, these added signs become part of the context, testimon y t o somethin g else , bu t nevertheles s testimon y o f a sort. To this 'voluntary contribution' of the new geniuses of graffiti, on e ought t o ad d th e involuntar y contribution o f pollution , a s wel l a s th e action of natural elements (wind, rain, seasonal variations, etc.). In short, what happene d wit h th e origina l expressio n ove r man y thousand s o f years continues to happen , bu t s o much faster, as we make progress in understanding this almost irresistible urge humans have to leave a mark. At times, it seems that a contest is taking place: factors of disintegration vs. the urge to know and preserve. Acknowledging various ways in which petroglyphs are appropriated — by populations stil l connected to them,