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This article presents a critical analysis of the African vernacular-rooted imagery represented in Yemi Ijisakin's stone sculptures produced between the years 2006 and 2016. The focus on this period is to study the kinds of imagery he represents when there is a global artistic shift to installation and conceptual art. In doing this, I argue that even though Ijisakin's stone sculptures are deemed vernacular art, they are not indigenous or historical African art, but a rethinking that references indigenous African cultural registers. The article also focuses on the ideas and meanings the interpretations of the works communicate to the audience. Thus, this article presents his artworks to a mainstream journal given that they have not received any critical analysis on the grounds that his works are regressive and outside the normative standards for referencing African/Nigerian/Yoruba contexts. But his works are important for demonstrating the interdependence of art and culture in Nigeria and producing knowledge on cultural practices. Key words: African, Vernacular Imagery, Stone Sculpture, Ijisakin, Contemporary Art, Introduction Yemi Olaolu Ijisakin is a contemporary Nigerian artist who works in different sculptural media but his preferred medium has been stone. He trained as a sculptor at Obafemi Awolowo [...]