painters of Chauvet, Cosquer, and Altamira de Paleolithic paintings, sculptures, and engravings pict large terrestrial mammals and birds mainly are unequivocally recognized as art: many hisas a source of aesthetic pleasure, a form of torical overviews of art start with prehistoric art for art's sake?6 Were the paintings pri material, usually Franco-Cantabrian cave paintmarily meant to be accurate depictions of an ings from Chauvet, Lascaux, and Altamira.1 The imals, similar to instructive illustrations in field recent archaeological discovery of older symbolic guides, used for educational purposes?7 Or do the artifacts may push back the time when the earlicave walls bear evidence of encounters with the est art appeared. These artifacts include objects denizens of the spirit world during trancelike in bone, ochre, and ostrich eggshell with geostates in shamanic rituals?8 Cluster concepts, as metric engravings from southern Africa, dated to advocated by, among others, Gaut and Dutton, 77,000-55,000 BP, and figurative mammoth ivory involve a list of features that are typical for art sculptures from Swabia, southwestern Germany objects, but it is unclear which of these apply to (40,000-32,000 BP).2 What warrants the intuition Paleolithic art; for example, are they expressive that these objects are artworks?3 After all, the culof emotion (Gaut), or was there anything akin to tural and social contexts of these Ice Age artifacts artistic criticism (Dutton)?9 Historical definitions differ from those of the modern world, and there cannot easily accommodate first art either because are no written records to reconstruct their meanthey have a recursive structure; they define art ings and functions. works by virtue of their relationship to earlier art First art is a theoretical concept that denotes works, and, again, we know nothing of these.10 The the earliest artworks within a particular tradiphilosophical analysis of first art presents prob tion.4 Arguably, multiple artworks qualify as first lems additional to that of non-Western art. In both art: archaeological evidence indicates that some cases, one cannot indiscriminately apply criteria forms of art emerged independently at differspecific to Western art; a focus on Western art ent times across the world, a pattern that canin aesthetic theories has left other artistic tradi not be explained by gaps in the archaeological tions underanalyzed.11 Though one can often rely record alone. To give but one example, figurative on ethnographic information to get insights into painting appears significantly earlier in Europe the function and aesthetic significance of these (33,000 BP, Chauvet Cave, France) than in Africa objects, this information is unavailable for first (27,000-25,000 BP, Apollo 11 Cave, Namibia) or art.12 East Asia (10,000 BP, Borneo), suggesting that Yet, as Davies observes, acknowledge figurative painting may have been invented indement of certain items as first art seems to rest pendently in disparate cultures.5 First art presents on our direct recognition of them as such, not on a puzzle to most recent concepts of art, because abstract reasoning.13 In a similar vein, Lamarque these require cultural contextual information on reflects that what is most striking about all Pa the function, producers, and the art critical conleolithic cave painting is the sense of affinity that text in which artworks are made—information modern viewers experience, despite the immense