The municipalities of Bezas and Tormón (Teruel Prov., Spain) are part of one of the most beautiful highlandregions in Aragón. The Albarracín mountain range is known for its weathered peaks (‘Rodeno’ red sandstone) andits ‘Rodeno’ pine forest (Pinus pinaster), two natural landmarks that led to the area’s declaration as a protectednatural landscape, Paisaje Natural Protegido de los Pinares del Rodeno.Both localities are inscribed in the Albarracín Cultural Park (Parque Cultural de Albarracín). In terms of heritagemanagement, its territory is comprised by significant cultural elements framed into an outstanding landscapeof ecological importance, which is protected and promoted. The landscape includes a wide range of cultural heritage,which appeals to various fields of knowledge and symbolic value: historical, artistic, architectural, archaeological,anthropological, paleontological, ethnological, curatorial, landscape, geological, industrial, agricultural,and craftsmanship. Prehistoric rock art is the main axis articulating the Cultural Park.Rock art sites in the Albarracín mountains are representative of the two most important post-Palaeolithicstyles in the Iberian Peninsula: Levantine and Schematic art. Both styles are included in the UNESCO World HeritageList since 1998, as part of a group of sites, known as the Rock Art of the Mediterranean Basin on the IberianPeninsula. These rock art sites are also part of the European Network of First Settlers and Prehistoric Rock Art,Red Europea de Primeros Pobladores y Arte Rupestre Prehistórico (REPPARP), which set the bases for the recentcreation of the ‘Prehistoric Rock Art Trails’ included in the Council of Europe Cultural Route Programme in June2010. This initiative enabled various works, including access paths, and the installation of direction signs andinformation panels at the foot of the rock art sites, increasing the quality of the visitor’s experience.Since the discovery in 1892 of Levantine art in the rock art sites of Los Toricos del Prado del Navazo andLa Cocinilla del Obispo (Marconell, 1892a and 1892b), the Albarracín mountain shelters have been particularlyknown for their exceptional representations of great bovines in black and white.Rock art in the municipalities of Bezas and Tormón has interested researchers and specialists since the 1930s,when early studies were undertaken in the Prado de Tormón area, near the Casa Forestal of Tormón. H. Breuil andH. Obermaier, the most relevant scholars of the time, worked on the shelters of Cerrada del Tío Jorge and Ceja dePiezarrodilla. Later, other relevant Spanish scholars also left their mark, discovering sites and restudying some ofthe rock art shelters. As of the mid 1940s, T. Ortego, M. Almagro and A. Beltrán gave a new impulse to Levantinerock art studies. Their work was resumed by F. Piñón, who published the most important work of reference to dateon rock art of Albarracín, which included new recordings by tracing and exhaustive analyses of the Albarracín rockart sites. During the 1990s, new studies were undertaken under the former Albarracín Centre for Rock art Studies(Centro de Estudios de Arte Rupestre de Albarracín), lead by O. Collado and integrated by researchers, such as J.V. Picazo and F. Burillo. During this period, extensive recording was carried out with photography and the directtracing of rock art. Nevertheless, the results of these studies were barely published.In 2012 and 2013 the rock art sites of Tormón and Bezas were restudied by two respective projects financedby the National Service of Fine Arts and Culture of the Ministry of Education, Culture and Sport (Dirección Generalde Bellas Artes y Bienes Culturales) with the collaboration of the Cultural Park of Albarracín and the Town Councilsof Bezas and Tormón. The restudy of the shelters was based on a comprehensive and integral recording of therock art, with day and night high resolution photography, digital tracing, terrestrial and aerial spherical panoramaphotography, geometric recording with laser scanner and structured white light scanner, as well as archaeologicalsurvey at the foot of the rock art sites and studies on geological weathering.Our work addresses the World Heritage rock art shelters, but it also offers an approach to the remainder ofrock art sites in Bezas and Tormón. In this hand, a total of 20 new sites with Levantine and/or schematic art havebeen discovered in the last years.The publication will reflect only a part of all the research being carried out. These two territories are associatedto all of the rock art in the Albarracín area. The study and analysis of this wider area has been taking placesince 2014 and will conclude in 2016. New assessments and approaches rising from the study of the Albarracínsites should be linked and studied in relation to the shelters presented in the following pages.A global vision is necessary for Iberian Levantine rock art. The three rock art sub-centres referred to in thetext may offer interesting data for the characterization of the rock art area of the Albarracín mountains, whichin turn may help in the understanding of the wide-ranging and complex horizon of post-Palaeolithic rock art inAragón and the Iberian Peninsula.