The Manila petroglyphs are unique to Utah rock art, and resemble no other known panels in the state. Schaafama (n.d. :59) considers the site to be an example of the Plains Interior Line Style, which would make it the only one of this style in Utah. Day and Dibble (1963:14) point out that while some of the elements found in the panels are often assigned to the Fremont Culture south of the Uintah Mountains, these motifs are commonly found on the Northwest Plains also. In addition, the numerous phallic representations found on the Manila panels appear to be more characteristic of the Northwest Plains rather than the rock art found south of the Uintah Mountains.

Thus, it would seem that this rock art is most likely associated with prehistoric hunting and gathering cultures to the north of Utah. It should be noted, however, that the panels themselves do not closely resemble most of the published rock art to the north, and thus stand at present as unique examples of aboriginal art.

Located at Manila, Utah in Daggett County, the site was added to the National Historic Register (#75001802) on October 6, 1975.

The site consists of a 200-foot long, discontinuous petroglyph panel of anthropomorphic, zoomorphic and geometric figures. These figures have been deeply pecked into the mineral-stained faces of escarpment boulders and fallen boulders below the cliff, all of which are part of the Dakota sandstone formation. The outstanding elements In the panels are the large anthropomorphic figures (approx. 3 to 4 ft. high) which have intricate line designs in their interiors. They are rectangular in form, with prominent phalli. In addition, there are numerous small stick-figure anthropomorphs, and animals done in the same manner; these Include mountain sheep, bison, and deer (or elk). Involved abstract designs are present–concentric circles, zig-zags, wavy lines and other motifs. Extensive camping sites are associated with the petroglyph panels. Heavy concentrations of lithic materials are present both above and below the boulders on which the art is located. There is a small spring only a few hundred yards below the panels (i.e., to the south), which may have been an important factor In the location of the art work and camp sites.

At present, the site appears to be in excellent condition with the exception of a few initials and minor shooting (using the concentric circles for target practice). No new vandalism was noted in 1975 from the time the site was first recorded in 1962. The road which runs immediately to the south of the site is now closed, making access more difficult, and probably providing more protection from vandalism.