A pencil drawing on a paper fragrance advertisement. The front-side is a hand-drawn image of a sea lion(?) set against a white background. The sea lion is horizontally oriented on the paper; the head is positioned at the right edge of the page where the corners are squared, and the tail is drawn towards the left edge where the paper is rounded. Its teeth are bared, the eye is drawn inside an elongated diamond-shape, and small arches, drawn below and to the right of the eye, are shaded in with pencil. The side of the body is decorated with criss-crossing assemblages of grey lines in varying lengths and thicknesses. The right fore flipper is unshaded and is embellished with an ovoid, a shaded arch, a shaded tower-shape, and a crescent. The underbelly and back of the sea lion are outlined in pencil but remain white. A human skull is drawn at the base of the sea lion's body, below the tail. Four horizontal lines give definition to the hind flippers. A circle filled with foliage designs is imprinted to the left of the drawing where the left edge of the page is rounded; this is visible on both the front and reverse-side of the paper. The reverse-side of the paper is machine printed. The right edge of the paper is lined with a gold border. To the left, gold text encircles an image of a lion standing on a crown. In the centre of the page, "Doulton" is printed horizontally in black ink. The circular foliage imprint is located at the left edge.

A drawing on a piece of paper. The front-side of the paper depicts a hand-drawn, vertically oriented image of a lightning serpent(?) with bared teeth. Yellow stars, of varying sizes, decorate the off-white background of the drawing. The serpent is outlined in grey and yellow pencil crayon; the backside of the serpent is lined with grey hair(?). The body is shaded in with green pencil crayon and decorated with blue, red, and yellow details. A blue snake-like creature extends from the serpent's nose; to the right is a red projection decorated with an elongated diamond-shape. Three tufts, outlined in grey and green, are drawn at the base of the serpent's head. Beneath its jaw is a human-like face with bared teeth; the forehead, nose and chin are coloured red, the brow is dark grey, and the area surrounding the eye is blue. In the bottom right corner is the artist's signature, a "M" with a line through it and two dots. The reverse-side is blank except for machine-printed blue lines running vertically down the page.

Large painted ceramic pot decorated with birds and floral motifs. The pot stands on three curved hand-moulded feet and has similar handles. The pot curves out from the base and has a thinner neck and an upturned lip at the mouth.

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.

Painted house beam. Slice of a tree trunk, covered in plaster on the front, with the bark left on the back. The part that has been plastered is painted with natural pigments. The beam would be read bottom to top. At the bottom is one of the patron saints; the Virgin of Asuncion. In phrases divided by various patterns, such as flowers and llamas, the beam depicts a range of daily activities such as sowing seeds and weaving. The persons represented are named in writing. At the top of this beam is the sun.

Large painted ceramic pot decorated with birds and floral motifs. The pot stands on three curved hand-moulded feet and has similar handles. The pot curves out from the base and has a thinner neck and an upturned lip at the mouth.

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.