This paper charts the evolutions of the Lascaux cave in its various manifestations from the ‘original’ rock art discovered in 1940 to the replica construction ‘Lascaux II’ and a recent travelling exhibition ‘Virtual Lascaux’. The discussion briefly outlines these evolutions and then, employing the notion of the ‘hyperreal’ and the ‘simulacrum’, examines them and the paradoxical nature of ‘copies’ of an ‘original’ work of rock art.