Archaeologists have long debated the potential role of iconographic repertoires in reconstructing prehistoric ontologies and symbolic systems. The rich and complex imagery unearthed at Pre-Pottery Neolithic Göbekli Tepe (Turkey) has offered a promising ground to address this issue further. Previous interpretations have focused on the symbolic meaning of the depictions, often highlighting their male-centred and violent connotations, while overlooking the spatial and performative contexts of the depictions. This paper engages with this scholarly work in order to propose a new interpretation based on the anthropological framework of relational ontologies and on the analysis of some stylistic and contextual aspects of the iconography. Based on these premises, the curvilinear enclosures of Göbekli Tepe are interpreted as places of encounter devoted to interpersonal relationships among human and non-human agents, enabled by the intermediary role of images. The use of particular techniques of visual representation—including cues of motion and an emphasis on three-dimensionality—along with the centripetal orientation of the animal figures contributed to the animation of the depicted animals and to a sense of convergence of human and non-human beings in the social space of the enclosures.