Large rectangular painting framed in wood. The painted image is divided into four rows of eleven Christian-themed scenes. The small rectangular panels are separated by red with yellow borders, with circular wheel-like decorations at each corner. The entire story is bordered by blue with yellow, with circular wheel-like decorations in the corners. At the top of each panel is writing in black on a white background, with exception to the bottom row, which has writing across the bottom of the panels as well.

Haida manga watercolour and ink painting. The painting is comprised of 18 separate, multi-coloured, story panels. Each panel shows several scenes in the story, in order, starting at the upper left corner. When all the panels are hung together in a rectangular configuration (6 panels wide x 3 high) they also form a larger image, united by a thick, black, painted line. (From the upper left corner of the image, l-r: parts a-f; middle row, l-r: parts g-l; lower row, l-r: parts m-r.) The artist signed each panel on the back and sketched out where it fits in the configuration.

Rectangular painting of two figures engaged in a head pull game. Two figures face one another and have a brown band wrapped around both of their heads. The figure on the left is lying on their stomach, with both arms out to support themselves. The figure on the right is sitting on their knees, with both arms out to support themselves. Both figures are wearing brown fur-lined, hooded coats, brown pants and boots. The figure on the right is wearing light brown and the figure on the left is wearing dark brown. Both figures are on snowy ground, painted with shades of pink, yellow, dark blue, light blue and dark green. Behind each of them are piles of dark and light brown rocks, with snow shaded yellow, purple and blue. In the background the sun is setting against a dark blue sky, with streaks of yellow, red and red-brown through it. The artist signature and year, "'09", are printed in pen in the bottom right corner. Next to the signature a small sun is sketched in ink.

Large, unframed painting on a rectangular piece of handmade "washi" paper. Painting depicts a craterous landscape of oil barrels with groups of red pipelines and rivers of black snaking through. Bursts of yellow extend from some of the barrels while others have drawings of fish, humanoid faces or other creatures on the lid. The background is a solid black sky. Signed in the bottom right corner.

Wooden panel covered in plaster or gesso and painted. Tabla shows people in local traditional dress being burned alive in a bonfire. State police in camouflage are also shown in the scene. The text states that the painting shows the extrajudicial execution of supposed ‘Shining Path’ insurgents. Among the executed are numerous innocent local Ayacuchans.

Wooden panel covered in plaster or gesso and painted. The tabla shows the Peruvian State forces confronting ‘Shining Path’ guerrilla insurgents in the high plains of Ayacucho. The image shows men in Sinchi uniform as well as people in local traditional dress. A low flying helicopter painted with state camouflage is firing on everyone. The image is of destruction and bloody death. However, it also contains images of the local landscape that show continuity in painting style from the house beams (3289/60-61); a dog steals a piece of meat from the fire, chickens roam the hillside. This is the culmination of the armed conflict and shows the confusion involved in the identities of attackers and victims.

Wooden panel covered in plaster or gesso and painted. Tabla shows the assassination of community authorities by ‘Shining Path’ insurgents. The men with rifles are wearing balaclavas. This episode in the series evidences the reaction of the Maoist group to the destruction of the local community centre by State military. This act constituted a counter-threat.

Wooden panel covered in plaster or gesso and painted. Tabla shows men in military camouflage, raiding the Empresa Comunal de Sarhua, the community centre at Sarhua, which held community records and cultural knowledge. The image also shows residents from Sarhua (‘Shining Path’ supporters?) climbing a fence to escape the State military - known as Sinchis. The people watching the destruction of the Empresa Comunal are visibly shocked and saddened. They argue amongst themselves. US trained Peruvian counterterrorist police are shown looting and destroying the autonomous community building at Sarhua.

Wooden panel covered in plaster or gesso and painted. Tabla shows the village square in Sarhua. People in traditional Ayacuchan dress stand in a large circle, listening and applauding a group of people holding rifles and red flags decorated with the hammer and sickle. There is a short text in Spanish explaining the episode in the Maoist ‘Shining Path’ armed conflict. The Shining Path insurgents make promises of much needed economic help. Initially the terrorists were met with support from the local communities in Ayacucho.

Painting on thin canvas. Vertical panel bordered by finely inked spade-like shapes on a solid yellow-brown background, and separated from the body by a solid red line. At top, four figures with round eyes and tails, possibly including Hanuman and Vali, appear surrounding a tree. Below, three figures surround another tree. One of the figures appears to be repeated in both the upper portion and lower portion of the panel.