If the authorship of rock art by particular groups is assumed, the very object under study can unwittingly be falsely attributed. Our interpretations have largely failed to incorporate evidence, in the colonial era and before, for the integration, mixing, and métissage of new peoples from two or more previously different ethnic groups. The results are equally assumed—namely: that one essential group impacted on the other, and the consequent imagery is a record of this secular narrative. Contrary to these simplistic reflections, creolization emphasizes cultural resilience, subversive agency, and a theoretical usefulness that enables better understandings of the rock art of people on the far side of colonial frontiers and texts.