This paper explores the exterior fresco of the Last Judgment at Voroneț Monastery in Romania as an example of the way theology can take visible form and enter public space through art. In the Christian East, theology has not been confined to texts or doctrinal definitions. It has also been expressed through images that shape the imagination of a community and communicate faith in visual form. From this perspective, the painted wall of a church is more than religious decoration. It can become a place where theology is expressed visually and encountered by a wider community. The fresco of the Last Judgment at Voroneț is especially significant because of both its subject and its placement. Located on the monastery's exterior wall, it brings theological reflection beyond the interior liturgical space and places it before the eyes of society. What appears here is not simply an artistic representation of the end of time, but a visual proclamation that invites reflection on judgment, mercy, salvation, and human responsibility. Through composition, color, and sacred narrative, the image shapes how viewers perceive these theological realities. The paper argues that the Voroneț fresco can be understood as a form of public visual theology in which art becomes a bearer of theological meaning. Rather than functioning as a simple illustration of doctrine, the image participates in theological communication and makes religious ideas visible in shared space. By bringing Orthodox theological reflection into dialogue with visual analysis, the paper proposes that the Last Judgment at Voroneț offers a powerful example of how religious art can become a living expression of theology in public culture.