As I said at the beginning of my remarks, there is a deep and understandable mistrust in the overall explanations of the art of the Higher Paleolithic, which would concern all forms of art that have existed over the twenty thousand years covered this period. That is why, in my demonstration of the power of explanation of the shamanic hypothesis, I have considered only the rupest art of Western Europe. I also emphasized spatial and temporal diversity. There are, of course, unresolved problems and this explanation deserves to be worked in all its implications. But this is true for all the most confirmed and widely accepted assumptions; the theory of evolution is an example. We don't have to explain everything to explain something. I only claim that there is no other explanation that is so much evidence-based. There is no other one with comparable power and explanation; the shamanic explanation brings some clarification to some of the most difficult problems in research in the period of the Higher Paleolithic. In doing so, it proposes a completely new classification of the representations of this period and a new way of considering changes affecting their deployment within the caves. In addition, it places the entire activity of economic, social or ritual, within evolving cosmology. If we cross various empirical data, the multiple ethnographic analogy related to it and the results of neuropsychology research on modified states of consciousness, the approach I propose allows to overcome the current impasse caused by the collapse of previous explanations and a tendency to think that new data will end up by themselves providing explanations. Unlike what can be seen in many works that are about this period, there is no reason to despair of ever being able to understand something about the art of the Higher Paleolithic.