Low-fired, unglazed clay olla. Mouth is wide, with a short neck and widely flaring shoulder. Body inclines toward a small, circular base with a slight punt. Painted decorations in black and orange cover the white underpaint, and the set repeats three times. Included are geometric patterns, solid lines of colour, fine stripes and dots. The bottom quarter of the pot is painted orange with no embellishment, as is the base. The interior is unpainted but for several inches of orange inside the lip.

Chancay figure pot. Body of pot is oblong, with a rounded base. Slight protrusions at front are embellished with paint as legs and arms, while small toes protrude near the base, and hands emerge from the chest holding a cup. The neck of the pot is tall and narrow and incorporates the figure’s face, with a pointed chin, protruding nose and slightly bulging eyes. Designs are painted in dark brown along chin, cheeks, and brows. Large ears with round earrings emerge from the sides, and above them are several similar, evenly spaced protuberances just under the rim.

Embroidered cloth depicting scenes of civilian experience during a war. The piece is a small square of blue cotton cloth with bright, detailed embroidery of three situations depicted in horizontal strips across the fabric. The top strip shows a group of people attempting to escape from two soldiers. A man and woman in traditional garb with bags on their backs run away from two soldiers dressed in green and carrying guns. A woman lies dead between the two parties, her living child beneath her crying. One solider grasps another child by the ankles and bangs his head against a rock, drawing blood. In the central strip, four people attempt escape down a river that has been embroidered in white thread. In the bottom scene, a soldier in green stands with a paper and pen in front of a line of civilians, each with a backpack, some weeping. Every scene is surrounded by flowers and greenery.

Painted bark cloth. Rectangular piece of pounded bark cloth with a painting of a large blue-green bird with a yellow worm in its beak, standing on a leafy outcropping. Opposite, facing the bird, is a lizard painted yellow, blue and brown with large pointed teeth in its open mouth and spikes down its back. It clings to a branch with outstretched legs, its tail curving up behind it. Between the bird and lizard is a thin yellow snake. The back of the bark cloth shows black marks from the painting on the front.

Painted bark cloth mask. Body of mask is made of a single piece of bark cloth, sewn together at the back of the head with the neck and shoulder portion remaining loose. A round panel stitched to the front is painted with large eyes, thick eyebrows and an open mouth with teeth. A large protruding nose of cloth emerges from the centre of the face. The forehead comes to a peak above the face panel. Two large oblong ears are attached to the piece on either side of the face and angle upwards. The body and head are painted with lines and colour blocks in blue, yellow and brown. The back of the cloth has paint marks from the painting on the front.

Large photographic print. A young girl stands in the centre of the photo. Her smiling face and lower legs are in colour, while her torso and upper legs are surrounded by a rectangular black & white, X-ray type image overlaying the colour picture. Inside the rectangle she is wearing a neat white buttoned jacket that reaches to her knees, hands clasped together in front. Seen in the background of the piece behind the little girl’s head is a window showing the exterior slats of a building. On the sides of the photo print are images of cellulose film notches.

Arrow has long wooden shaft, tapering slightly and reddening toward nock. Fletching has come loose and is attached to shaft with string. At bottom, the point is sunk into the wood and secured with wrapped sinew. The point is copper, cylindrical in shape, with incised circles and diagonal lines along its length. The tip has 4 outward barbs surrounding the central point.

Arrow has long wooden shaft, tapering slightly and reddening toward nock. Fletching is attached to shaft with wrapped sinew at feather tops and bottoms. At the tip, the point is cast in copper, with a long, thin base culminating in a wide point with serrations below the barbs on the neck. It is sunk into the wood and secured with wrapped sinew.

Arrow with a long wooden shaft, tapering slightly and reddening toward nock. Fletching is attached to shaft with wrapped sinew at feather tops and bottoms. At the tip, the point is cast in copper, with a long, thin base culminating in a wide point with three large serrations on each side of the neck. It is sunk into the wood and secured with wrapped sinew.

Arrow with a long wooden shaft, tapering slightly and reddening toward the nock. Fletching is attached to shaft with a wrapped thread at feather tops and sinew at bottoms. At the tip, the point head (part b) is cast in copper with several serrations along the barbs, and a long, thin bone base sunk into the shaft and secured with wrapped sinew and string.