My aim is to open for inquiry the ways our “theoretical" understanding of imagery grounds itself in social and cultural practices, and in a history fundamental to our understanding, not only of what images are, but of what human nature is or might become. W. J. T. Mitchell, in What Is an Image? 
This canyon’s walls display layers of discrete images, applied over time with varying intents and purposes. Together these meld as image-field, a unified whole, yet ever threatening to disburse. These digital photographs frame a portion of the wall as interpretation, as re-presentation. Now virtual, these images “present themselves as what they are, images, not the transportable and compact form of a reality that is already inaccessible.” as Chris Marker reminds us.
Marker continues: “Images never say what they are, but always claim to be what they are not. Image is a fiction, a future recreation of a present moment which was real, but which is no longer nor will it ever be, and this is due to the mere fact of its differed interpretation, its semantic position.”  This question - What is an Image - queries the power of imagery. For centuries a religious, historical and political force, this question and its mirroring - the imagery of power - continue to compel understanding.
For rock art, and landscape archaeology in general, ours is an era wherein we will view and “see” many more virtual rock art images than we will observe in person, in situ. As digital visualization of inscription, artifact, and monument continue to expand with 3D scanning, color and chemical sensing, remote and laser color sensing, and ground-penetrating radar, what is real, true, actual, fold seamlessly into virtual. Layering dimensions of an image-field as we re-enter the canyon walls.
 W. J. T. Mitchell, What Is an Image? (1984) New Literary History, Vol. 15, No. 3.
Mitchell, a leading theorist on the image, is included in James Elkins’s edited volume What is an image? (2011). Recommended: The Domain of Images (1999), James Elkins.
 With a DVD of his 1996 film Level 5, Marker, a French filmmaker and installation artist, included an essay titled In Search of Lost Memory from which these excerpts are extracted … as images.
 Located in western Nevada. Also: http://rockartoregon.com/nevada-petroglyphs