In Art of the Eskimo: Prints (1974), Patrick Furneaux and Leo Rosshandler aptly describe the pathos evoked by this in this print, writing, "The agony of the dying caribou [is] conveyed with intensity and feeling [...] The artist employs very sophisticated graphic renderings, particularly in the head of the animal; the print is almost expressionistic in its depiction of the caribou’s final struggles” (p. 44)

While it is the only print for which Aqjangajuk acted as draughtsman, a detail of an engraved tusk dated to 1964 and illustrated in George Swinton's Sculpture of the Eskimo (1972, fig. 447, p. 189) shows a caribou in a similar distorted position. In both cases, through the bold twisting of the caribou's form, Aqjangajuk transcends mere depiction of a hunted creature, rendering instead an intensely evocative portrayal of an animal caught in its final, dramatic moments of existence. However, in the print, unlike the tusk, the animal's foe is the animal's foe is nowhere in sight. Only the shaft of the unseen hunter's arrow, plunged into the caribou's side.

References: This image has been widely reproduced, including in Jean Blodgett, Grasp Tight the Old Ways: Selections from the Klamer Family Collection of Inuit Art, (Toronto: Art Gallery of Ontario, 1983), fig. 9, p. 75; Bernadette Driscoll, Uumajut: Animal Imagery in Inuit Art, (Winnipeg: Winnipeg Art Gallery, 1985), p. 103; and Patrick Furneaux and Leo Rosshandler, Ernst Roch, eds., Art of the Eskimo: Prints, Signum Press, 1974, pp. 44-5; and Ingo Hessel, Inuit Art: An Introduction, (Vancouver: Douglas & McIntyre / New York: Harry Abrams / London: British Museum Press, 1998), pl. 125, p. 156.