The study of rock art throughout the world has recently taken a retrospective view of the theoretical approaches traditionally adopted in its analysis and reporting. This has been triggered principally by feminist arguments that much of the ethnographical and anthropological scholarship was largely male centric. Reviewing existing data generated by both male and female researchers revealed that a Eurocentric and androcentric reporting was endemic and this stimulated new approaches. The cry was for 'women to be placed back in the picture' and the pendulum swing was impressive. Feminist advocates had their day with 'gender' taking front of stage. This was a healthy reaction to its absence and has resulted in analysis of feminist issues been absorbed into recent mainstream archaeological research. However, it is now time for a more considered approach to be taken where the male, female and other are considered and are given equivalent attention.

The sexual diversity of painted, anthropomorphic figures depicted in the rich rock art assemblage of the vast Kimberley region in northwestern Australia is marked. The assemblage has a Pleistocene origin (Roberts et al. 1997; Ross et al. in prep.) with distinct stylistic changes evident through time (Walsh 2000; Welch 1993). The most recent stylistic period, the Wanjina period, retains its relevance for the Aboriginal inhabitants of the region today.