This paper responds to The Invisibility of Religion in Contemporary Art (University of Notre Dame Press, 2025), a landmark study that diagnoses religion’s marginalization in modern art history and proposes theology as an interpretive discourse for art criticism. While affirming the book’s monumental historiographical and methodological achievements, the response argues that certain forms of theology remain “invisible” within its framework—particularly poetic, political, and experimental theologies shaped by thinkers such as Walter Benjamin. It questions whether theology should function solely as a disciplined interpretive method or also as a creative, constitutive discourse akin to art criticism itself. By examining Benjamin’s images of theology and his relationship to Paul Klee’s Angelus Novus, the paper suggests alternative models of theological engagement with art that move beyond close reading toward companionate and generative encounters. The aim is not to critique but to extend the field the book so compellingly maps.