t is produced a documentary record of the Cuban rock art stations where its have been used two colors or tones in its implementation. The record is facing the problem until the level of site and its features, by proposing a simple taxonomic model for define, organize and classify the different variants of the use of bichromate in our country. Finally, its been made a brief comment on relations between the bichromate, overlap and the time criteria developed at the base of this problem, allowing us to ensure that it is necessary to enhance and develop our analytical models, due to this problem that we are approaching is complex and can only be dealt with complex methods of investigation.

This paper presents a critical analysis of some philosophical elements, theoretical projections, methods and proposals used to attempt to demonstrate the possible African origin of certain Cuban rock art design, between the XVIth and XIX centuries. This analysis demonstrates that, until today, the majority of these approaches have not obtained the expected results, because they have been concentrated on morphological comparisons and mythological inductions of limited scope. In order to obtain more accurate and effective answers to this question becomes necessary a redesign of concepts and methods, as well as a change in the way rock art sites of possible African origin are approached.