This article presents for the first time the study of the Dásovich rupestre Art. It extends the register of rock graphics already known for the Valleys of the River Mayo and one of its tributaries, Guenguel (south-west Chubut province, Patagonia Argentina). Documentation, through photographic relief and a description of each reason, is crucial because of the rapid deterioration of paints, which – due to phenomena of different kinds – increases daily, in some cases leading to total loss. In the second instance, and in order to help uncover the cultural issue of the area, the relevance of applying the categories ‘identity’ and ‘microidentity’ to the analysis (Kottak 2011) is debated. The broken art as part of material culture allows access to the symbolico-ideological world and distinguishes identities at macro and micro-ethnic levels (regional and local, respectively), as well as bringing us closer to the identification of potential perpetrators (Apellániz 1980; Apellániz and Amaya 2014). The feasibility of restoring some of the meanings of parietal expressions is explored from sources provided by aboriginal interlocutors and archaeological, historical and ethnographic literature. This also gives a contextualisation of breaking art to other cultural evidence (Components I, II and III).