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This paper compares archaeological evidence of Aboriginal occupation inside rock shelters and outside in adjacent sand sheets, focusing on two locations in the Keep-River region, northwestern Australia. Luminescence and radiocarbon dating reveal that occupation sequences inside rock shelters are generally younger (Ͻ 10,000 yr B.P.) than outside (Ͻ 18,000 yr B.P.). Differences in occupation chronology and artifact assemblages inside and outside rock shelters result from depositional and postdepositional processes and shifts in site function. An increase in regional sedimentation rate from 10 cm/ka -1 in the Pleistocene to 20 cm/ka -1 in the Holocene may account for late buildup of sediments within rock shelters, increased artifact accumulation, and reduced postdepositional disturbance in some settings. More intense use of rock shelters in the Late Holocene is indicated from a change in hunting technology and greater production of rock art. The results indicate that some cultural interpretations might be flawed unless archaeological evidence from rock-shelter and open-site excavations is integrated.

The Keep River region has a complex body of engraved and painted rock-art, distinct from but with links to regions to the east, west and south. At least four major periods of figurative rock-art have been identified with differing subject matters and ages. Significant changes in depictions of human figures and animals are evident, reflecting shifts in emphasis associated with ecological concerns and environmental change. We flesh out the relative rock-art chronology by highlighting these changes, from worlds dominated by humans to those dominated by mammals and birds, and finally to a recent world of reptiles and humans. Symbolic aspects of the imagery are also considered within a larger ecological approach. AbstractThe Keep River region has a complex body of engraved and painted rock-art, distinct from but with links to regions

Antiquity last year reported a startlingly old series of dates from Jinmium in tropical north Australia. At Jinmium are old rock-engravings, the pecked cups or cupules that are widespread in Australia. This study of the Jinmium cupules goes beyond that immediate topic to broader issues.

Examples of striped marsupial depictions have been reported from both the coastal and inland Pilbara. Many are regarded as images of the thylacine, an animal that disappeared from mainland Australia some 3000–4000 years ago. Also observable in the rock art is the ‘fat‐tailed macropod’, a distinctive rendition of a marsupial with an extremely thick tail. Recent investigations in the Tom Price area and on the Burrup Peninsula confirm that both motifs pertain to the more ancient rock art corpus. Restricted artistic variation within the depiction of these two species confirms the trend to naturalistic style within animal subjects and suggests a extensive, culturally cohesive, artistic tradition across the Pilbara during the Pleistocene and early Holocene. At two specific locations, aspects of the rock art may be explained in terms of contemporary oral traditions and cultural practices, affording one way of placing temporal parameters on these early graphic traditions. I argue that the rock art is not just representational; that it communicates mythological narratives and behavioural traits, which have a deep antiquity to the Dreaming of more than just a few thousand years.