An archaic dedication from Samos known as the Geneleos Group is considered by scholars to be one of the first family dedications in Greek art, or, to be more precise, the first archaeological record showing an elite family in form of life size round sculpture in a sanctuary. Furthermore, it is one of very few archaic sculptures attributable to a certain artist: Geneleos. It is generally assumed that the persons shown are part of a family extending over two generations with the iconography highlighting the different social role models of its members: mother, father, son, and daughters. In this paper, I will try to question this common reading by proposing alternatives, triggered by the ambiguous iconography of the figures and by the placement of the inscriptions related to them.