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Cited by

• 2016Under the Skin of a Lion: Unique Evidence of Upper Paleolithic Exploitation and Use of Cave Lion (Panthera spelaea) from the Lower Gallery of La Garma (Spain)73 cited
• 2023Microclimate, airborne particles, and microbiological monitoring protocol for conservation of rock-art caves: The case of the world-heritage site La Garma cave (Spain)25 cited
• 2015Lithic cultural variability during the Gravettian in the Cantabrian Region and the western Pyrenees: State of the art25 cited
• 2016The Palaeolithic art of Tito Bustillo cave (Asturias, Spain) in its archaeological context23 cited
• 2020Upper Palaeolithic Installation Art: Topography, Distortion, Animation and Participation in the Production and Experience of Cantabrian Cave Art20 cited
• 2020Investigating the Anthropic Construction of Rock Art Sites Through Archaeomorphology: the Case of Borologa, Kimberley, Australia20 cited
• 2019The Archaeology of the Iberian Peninsula: From the Paleolithic to the Bronze Age10 cited
• 2023Apports de la carte géomorphologique et des matrices de Harris dans l’analyse des aménagements anthropiques : application à la grotte de La Garma (Espagne)6 cited
• 2024What Were Rock Art Sites Like in the Past? Reconstructing the Shapes of Sites as Cultural Settings3 cited
• 2017Lo cotidiano y lo religioso en el mundo gráfico paleolítico2 cited