"As an art historian, curator of exhibitions, art critic, and educator, I live and work and have my being in modern and contemporary art and theory. I work precisely where the crisis of the image is most obvious. Yet I find hope. I find altars to the Unknown God (Acts 17) strewn about the landscape of contemporary art. My responsibility is to name these altars, to declare confidently and creatively that it is in Christ that all things hold together (Col. 1: 17), even in contemporary art. It is to discern the Logos in the logos of the work of art.
Protestants and Catholics need to rediscover Nicaea II and the insights of the theology and practice of the icon. We do not need to transform western religious or secular art into something that looks like icons, but to recognize that the very presence of the icon in the history of the Church underwrites all painting. The Incarnation of Christ not only changed the nature of humanity, it changed the painted image, ripping it open to receive the Spirit. The theology of the icon is not an exotic cultural quirk of the Eastern Orthodox. It is the way the world of painted images actually works because Christ has changed the material world, the material of flesh and bones, as well as paint and wood. Perhaps it is not an exaggeration to claim, following Florensky, Rublev's icon of the Holy Trinity exists, therefore art exists.