Abstract: The study of figures overlapping in Palaeolithic rock art has been approached by the scientific discipline fundamentally from two perspectives. The first has been interpreted as the result of temporal relationships and the second as a question of the spatial composition of the panels or compositional units of prolonged artistic production. This work complements these assessments with a re-reading of the overlaps in terms of graphic appropriation behaviours produced throughout the Upper Palaeolithic. To this end, we propose a methodology that combines the study of Palaeolithic panels with new photographic technologies, their reading in decorative phases through the application of the Harris Matrix, the analysis of networks and the systematisation of the observed behaviours. As a result, the different reappropriation behaviours of the Frieze of the Hands from the El Castillo cave are identified and characterised, demonstrating a link between the ?different arts? of the Upper Palaeolithic.

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