ABSTRACT
This chapter argues that the resulting composite image of religious hazards of good art is distorted from both aesthetic and theological point of view. The religious role of good art is not the place to try to imagine all the reasons why inferior art or art with low artistic status might be good for religion, at least under certain circumstances. When modern religious thought has attended to the arts, it has often reflected that kind of elevated view of art and artists. The good religion thrives at times by means of art that isn't very good admitting that there is differences of opinion as to which art should count as good. The extensive and apparently legitimate religious use of questionable art gives the more reason to wonder whether and how good art could ever be good for religion and whether the features that make something good as art are to some extent also those that make it good, religiously.
