One of the most distinctive features of the Olmec civilization was its monumental sculpture, characterized by its masterful use of volume, simplified forms and details, enclosed shapes, and a refined sense of proportion. Human figures were the main focus of Olmec art, although many works also feature fantastical beings combining human and animal traits. Only a small portion of the sculptures realistically depict animals.

The sculptural art at La Venta served an official purpose and was used as a structured system of visual communication. Themes were often repeated within each sculptural group, with variations in size and detail. In many cases, the largest sculpture in a group was likely the most important in conveying meaning. For instance, in the group displayed in this gallery, Monument 53 appears to have the greatest significance.

To date, no evidence of a written language has been found that would allow us to interpret the meanings of these sculptures—as Mayan glyphs explain the scenes on their stelae. Nevertheless, the placement of sculptures in relation to architecture offers clues to their function and to the oral narratives that likely accompanied them.

This set of sandstone sculptures was discovered atop Structure D-7, which marks the southern boundary of the ancient city of La Venta. These are anthropomorphic figures in a squatting position, with their arms raised upward to touch the large helmet covering their heads.

It is believed that this group, like the colossal heads to the north, marked key access points to the city.

The stone was brought from the Sierra Madre del Sur, about 100 kilometers away.

Frans Blom and Oliver La Farge reported one of these sculptures in a 1926 publication, and Matthew Stirling carried out the first excavation around them in 1942.