Abstract: The geographical distribution of Upper Palaeolithic cave art in Western Europe has changed throughout the history of research. In addition to the initial nuclei that gave rise to ?Franco-Cantabrian? art Cantabria, Périgord and Pyrenees), new regions with remarkable concentrations, such as the Rhône in France or Andalusia and the Iberian Plateau in Spain and Portugal, have now appeared. This new reality favouring the emergence of other territories is probably the reason for certain lack of attention to the classic regions in the last two decades. However, since the beginning of the 21st century new discoveries especially on the Cantabrian side of the Pyrenees (Atxurra, Armintxe, Aitzbitarte IV, etc.) but also in the Périgord (Cussac), together with the revision of the Pyrenean ?great sanctuaries? (Tuc d'Audoubert, Trois-Frères, Marsoulas, etc.) and large collections of portable art, have forced a reformulation of artistic interactions between these territories around the Bay of Biscay, during the whole Upper Palaeolithic.

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