The Brazilian archeological sites, due to their historical importance and beauty, are becoming the target of tourist visitation. The inclusion of these sites in tourist itineraries is a recent reality in the country that has been rapidly intensifying because it is an alternative leisure and learning experience for visitors. However, in many cases, these sites are visited in a disorderly way, which often results in their destruction by anthropic agents. For archeotourism, or archeological tourism, to be a sustainable alternative for the conservation and preservation of archeological sites, planning based on environmental, socio-cultural, and economic sustainability is necessary. Thus, through these principles, this work aims to present a planning proposal for the visitation of three archaeological sites with rock art located in southeastern Pará, specifically in the region of Serra dos Martírios/Andorinhas. The sites TO-XA-l: Ilha dos Martírios, PA-AT-100: Pedra Escrita and PA-AT-268: Sucupira II are already visited and have been damaged by people who are often unaware of their historical, artistic, cultural and heritage importance. The lack of planning and infrastructure at these sites has made public visitation an agent of destruction of the archaeological heritage. This situation, however, can be reversed through adequate planning that transforms tourism into a sustainable activity for the local communities, for the environment, and for the archaeological heritage. The methodology used to carry out the work consisted of collecting information through bibliographic sources and in situ observation at the three sites. In the field research, data collection was done through the application of forms, interviews, and observation of the landscape of the Serra dos Martírios/Andorinhas State Park, São Geraldo do Araguaia and the three archeological sites. The result of this research presents an evaluation of the conditions under which these sites are exposed to public visitation and a proposal for their adequate planning.
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