We cannot rely on a purely conventional understanding of blasphemy in understanding blasphemy in artistic contexts. Intentions matter to our reading of acts of blasphemy and change our perspective on whether they are acceptable. The context of the museum does more than reserve a space for artists to critique outside the realms of worship, but enables the possibility of artists operating across the parameters of critique and devotion. In this sense, the choice to curate Votive: Sacred and ecstatic bodies in museums offered the possibility to interpret Ian Breakwell’s Deep Faith and Cathy de Monchaux’s Red (and the other art works discussed above) as ‘religious’ works that operate outside conformist religious structures. In this respect museums and galleries have a role in providing a space for the expression of alternative, and sometimes unconventional, religious expression; offering artists, within certain restrictions, the possibility to articulate what they want. The polemical nature of the abject and sacred common to many of the artworks discussed in this chapter is not new. Contemporary binaries regarding bodily fluids, suffering and flesh are often bound up with sexuality, creating a sense of the religious that is disembodied. It is in a reappraisal of our perceptions of binary imagery (misunderstood by essentialist religious paradigms) that a solution emerges. Bynum Walker’s research into medieval perceptions of the abject body as less sexual and more to do with fertility and decay indicate that the time at which something is viewed changes our understanding of whether blasphemy has occurred. It may be, that from the perspective of contemporary religious authority, these images are blasphemous, however, historical readings of the body in religious art make us question whether we must view works such as Piss Christ and Virgin in a Condom in this fashion. These works operate within a framework that is more complex than a conventional reading of blasphemy allows. They may also be interpreted as devotional, religious expressions.