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Cited by

• 2016A Cladistics Analysis Exploring Regional Patterning of the Anthropomorphic Figurines from the Gravettian55 cited
• 2018Cross-Modality Information Transfer: A Hypothesis about the Relationship among Prehistoric Cave Paintings, Symbolic Thinking, and the Emergence of Language43 cited
• 2013The Case for Hand Stencils and Prints as Proprio-Performative40 cited
• 2012Cultural Evolutionary Tipping Points in the Storage and Transmission of Information25 cited
• 1996Toward Decolonizing Gender25 cited
• 2007Representation and Recursion in the Archaeological Record25 cited
• 2014The human face and the origins of the Neolithic: the carved bone wand from Tell Qarassa North, Syria20 cited
• 2020Stone Age technologies and human behaviors as reflected in decoration of osseous artefacts from the northern part of East-Central Europe14 cited
• 2016Le comportement symbolique des derniers chasseurs cueilleurs paléolithiques : regard sur l’art rupestre du Magdalénien cantabrique13 cited
• 2015The wall paintings of Çatalhöyük (Turkey): materials, technologies and artists12 cited
• 2020The Easternmost European Palaeolithic Artists: Iconography and Graphic Features at Kapova Cave (Southern Urals, Russia)11 cited
• 2016Profiled hands in Palaeolithic art: the first universally recognized symbol of the human form10 cited
• 2002Arche texts: Lascaux, Eros, and the Anamorphic Subject