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The El Castillo Caves in Spain, shown here, contain many man-made designs, varying from the hand impressions seen above, to recreations of animals from that time period. These cave paintings are the earliest artworks that we can attribute to humankind. The art is rudimentary in its creation, but it has lasted close to 42,000 years. Since this time period has no known writing to elaborate on the creation of the art, pure speculation has been the source what we believe that the inspiration of the paintings came from.

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The artwork itself is consistent with other cave paintings found in France and other parts of Spain. The handprints are made out of red ocher. The pigment was most likely sprayed out of a reed onto the artists hands, creating that hand design on the stone wall of the cave. Other drawings were put onto the walls, including outlines of what would be reasonable to assume were animals of that time period.

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It would have to be incorporated into a prehistoric art exhibit, drawing attention via plaster-casted rocks walls to create a wide "cave entrance" to the exhibit with modern-styled glass doors (inspired by picture below). This sort of theme would persist throughout the exhibit, but in various forms due to the presence of more sophisticated architecture from other prehistoric cultures (like Jericho, Çatalhüyük, etc.). This would get the mood/ambiance of the true environment where the artwork originated.

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A display of this piece would absolutely require a digital representation, due to its permanent placement in the Spanish caves.The display of the work itself would be dimly lit, in a smaller room. The same sort of stonework that would be used for the entrance would create round room, where the dim, warm light would flicker, simulating a torchlight. The painting itself would not be visible at first, seeming like a purely environmental room only, but as people walk past, the painting would be projected onto the simulated stone wall. A screen would be implemented into the wall, offering the details of the origins of the paintings and the methods of creation. This screen implementation could also offer an audio accompaniment to describe the same information in more detail. The showmanship is mostly to drive people to be intrigued by the exhibit more than anything, and I believe that a sudden appearance of a painting on the wall would be an ideal way to present this.

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The Kandariya Mahadeva Temple in India is one example of the Hindu religion that is ingrained in south Asia. Erected in the reign of Vidyadhara between 1003-1035 CE, it was a central place of worship for Hindu Indians. Used as a temple for various gods of Hindu throughout history, it is now considered a UNESCO World Heritage Site. The sculptures that surround it are extremely intricate, and there are many of them. All of the sculptures are made of a single type of stone, and it is likely that there were many people committed to producing the artwork.

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The sculptures themselves are numerous. They make up the spires that are part of the central structure of the construction, with 84 of them total. They depict various poses, but many motifs include "mithuna", the sanskrit word for a religious practice of sexual intercourse. These motifs also include many prominent inclusions of the Hindu fire god, "Agni".

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One of the mechanisms for context would be an actual recreation of a spire into a 4 sided pillar that would exhibit as many of the original motifs as possible (inspiration below), creating a 3-dimensional element. The texture of the sculptures and the stone as well would be accentuated by using various lighting angles from above and below. This piece would have to be central and standalone to allow for 360 degree view.

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Surrounding the pillar would be a metal information panel that would serve as a way for people to read and understand the temple itself, as well as some of the motifs that are present in the art. In the exhibit, there would also an immersive element created by the burning of incense, a tradition of the original temple and many Hindu rituals.

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The North American native tribes were known for intricate basketmaking and their various shapes and designs for various uses. They demonstrated the artistic ability of their creators by containing patterns of various pigmented materials that were woven together. These materials varied based on where they originated, but could be made out of bark, sea grass, reeds,  and many other materials. These baskets were mostly very common-place in the culture of the various tribes that roamed the various regions of North America due to their versatile uses.

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The Navajo native American tribe is known for their weaving talent. Their weaving skills were used extensively in the creation of intricate designs in baskets, rugs, and blankets for various uses. They are made out of one of two principle materials: cotton or wool. Cotton was used in the time prior to their introduction to the Spanish, at which time it is believed that they used the wool obtained from the sheep that the Spanish had brought with them.

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To exhibit the rugs and blankets created by the Navajo, they would be hung from a neutral-colored wall (inspiration below). They would be among other pieces of art from the Navajo, including paintings, drawings, and baskets. The baskets would be on display on top of pedestals. There would also be a television displaying a visual program on the process of the Navajo weaving process and how it was and currently is done.

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The process of making a simple basket is not difficult, but it is slightly time consuming depending on the method used. Mini-rug weaving, on the other hand, would provide the same interactive experience as basket weaving would, with minimal time investment. This would allow visitors to get a taste of the process that they see on the walls, plus a keep-sake that they can use to remember the experience.

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The Nok people in Africa were known for creating head figures like the one depicted below. Currently, there is no writing found from the Nok, and the presence of these sculptures is speculated to be a way for them to connect with a spiritual realm. Formed from terra-cotta, they were massive and had distinctive features that were very consistent: the headdress, the triangular eye shape, and the holes penetrating the eyes, nose, ears, and mouth of the head. Nok sculpture also emphasized the size of the head in proportion to the body.

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The head displayed below is from an area in Nigeria known as Rafin Kura. The head was excavated and dated to be from around 500-200 BCE. The head itself is 14 and 3/16 inches in height, massive when considering normal human proportions. As already noted, the heads themselves had distinctive features, and this one is no different. The artist gender is speculated to be female based on the role of females in African sculpture, however, this is speculation.

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In an exhibit that features prehistoric Nigerian art, this would definitely be a centerpiece based on the detail as well as the sheer size of the object as well. It would be displayed in the middle of the room on a pedestal, protected in a plexiglass enclosure for security of course. I would dedicate a whole room to showcasing this piece, with dim ambiance lighting with spotlights shining on the piece from the ceiling, for the same reason that the head's size was exaggerated: to draw attention. Again, this should accentuate the texture of the terra-cotta used in the creation of the head.

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Maps of the regions of Nigeria would be helpful in ascertaining the origin of the heads. The Nok people occupied most of Nigeria, and up until recent history, Nigeria had not regulated antiquity excavation and export. Thousands of people would come and raid the excavation sites to steal the terra-cotta creations due to the lax enforcement of laws. It's for this reason that the geography of the region is important. Also, I would include supplementary pictures of the excavation sites to show the extent of the presence of Nok creations in the region.