hat we might loosely call the indigenous “religious arts” of the late prehistoric Greater Antilles – skillfully crafted, portable artifacts used in ritual practice – exist in a variety of genres in a variety of media. Some of these genres have attracted consid-erable analytical attention by specialists: dujos (ceremonial stools), cohoba stands (for receiving a hallucinogenic powder), and reliquaries of wood (Ostapkowicz 1997, 2015; Ostapkowicz et al. 2011, 2012, 2013); stone collars and “elbow stones” (Fewkes 1907; Walker 1993, 1997); so-called “three-pointed” stones (Fewkes 1907; Veloz Maggiolo 1970; McGinnis 1997a, 1997b); figural effigies of pottery (Veloz Maggiolo 1972; Roe 1997); cemí (spirit) figures of beaded cotton (Taylor et al. 1977; Ostapkowicz and Newsom 2012; Ostapkowicz 2013); figural stone axes (Herrera Fritot 1964); and shell “masks” (Mol 2007, 2011). Other artistic genres have garnered far less systematic atten-tion, including vomiting spatulas, figural centerpieces of shell necklaces, zoomorphic pendants, engraved olive shell pendants, ornamented shell plaques, and ear ornaments.Among these, anthropomorphic figure pendants of the late Ceramic Age (ca. 600-1500 AD) are numerous and well known in Greater Antilles archaeology, if not particularly well understood. Examples of these small, three-dimensional carvings appear in virtually all large collections, public and private, and they have been featured in a number of exhibit catalogs. The majority are without archaeological context, but a few key specimens have been professionally excavated.