How can contemporary art be analysed as a multimodal environment in which media-transported, religiously inflected gender norms become observable as operations of production, iteration, and resignification. The focus lies on the medial conditions under which norms acquire affective force and cultural durability: constellations of image, text, space, materiality, institutional framing, and embodied addressability. The paper treats church-historical contextualisation and media-operational analysis as mutually constraining procedures: historical specificity stabilises the comparison, while operational description sharpens what produces gendered authority and legibility. The paper proposes a cross-temporal perspective as a relational comparison. It proceeds in two steps. First, it identifies media operations as they become accessible in contemporary artistic practice and in its conditions of production, presentation, and reception. Second, it abstracts these procedures into an analytic vocabulary and mobilises it as a heuristic for examining early modern intermedial formations within their own temporal, confessional, and cultural frameworks. This procedure avoids anachronistic projection and assumptions of linear continuity or transhistorical equivalence. A pilot constellation of four artistic positions—Anys Reimann, Sophia Süßmilch, Esther Strauß, and Ruben Montini—tests and calibrates this heuristic within a wider corpus. These works make analytically tractable how gendered authority, addressability, and regimes of visibility are organised through media operations such as repetition with difference, fragmentation, spatial re-coding, and ritualised inscription, and through the agency of materials that bridge symbolic distance. In this way, the paper contributes a vocabulary for analysing religion and inequalities as effects of historically specific media operations that distribute gendered legibility and authority.