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.