1. Introduction: Many scholars have written on the problems of identity in Nigerian Art. Carroll (1967) concentrates on the relevance of religion in Yoruba carving while Adepegba (1982) elaborates mostly on the traditional Nigerian Art, its past and relevance on the community where it is produced, and other attributes. Roy (1979) in his own case writes generally on African sculpture, while Sieber (1961) concentrates extensively on the sculpture-types of the Northern part of Nigeria. Beier (1959) discusses wood carving among the Yoruba of south-western part of Nigeria. He also in 1960 writes generally on Art in Nigeria. Thompson (1968) discusses the aesthetics in traditional African art, while Abiodun (1975) concentrates on ifa art objects in Yoruba Oral Tradition, and Drewal (1977) elaborates on the Traditional Art of the Nigerian Peoples as a whole. The focus of this paper is however, not far from their views but different in subject of definition of terms. What is Nigerian Art? Why the appellation “Nigerian Art” given to the art form of this area of West Africa? Could it be because the Art or the Art objects are produced from Nigeria or Nigerian? To attempt answers to these questions, one has to look into many aspects of the culture that produce such works of art. Nigerian art has many faces found deep in the socio￾cultural setting of the people involved. These faces may include the choice of subject matter, use of colour, patterning techniques, use of symbols, and the general outlook of the art works. From the western world point of view, the so called “Nigerian art” as other art forms in West African.