| Sumario: | This article focuses on the critical examination of the role and visibility of religion in contemporary art, responding to various scholarly critiques of the book *The Invisibility of Religion in Contemporary Art*. The author addresses concerns about the book’s academic focus, its treatment of theological themes—particularly through the analysis of Kris Martin’s artwork *Altar*—and the conceptual framework of a "theological horizon," which is described as one of several interpretive lenses that coexist without totalizing art history or theology. The discussion emphasizes the complexity of engaging religion and theology in art criticism without reducing them to political or sociological categories, advocating for a dialogical and open-ended approach that respects the irreducibility of theological questions. The author also clarifies misunderstandings regarding the nature of theology in the book, rejecting accusations of ontotheology or authoritarianism, and underscores the importance of maintaining religion’s strangeness and critical distance within contemporary art discourse.
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