The growth of interest in the arts from anglophone theology has carried with it both positive and negative tendencies. Positively, the arts are no longer regarded as secondary, dispensable forms of cultural production and theological reflection, but have begun to regain a place within Christian theology through analysis of all forms of art. Wassily Kandinsky, in particular, is among the artists who is receiving a considerable degree of attention. This is understandable, since his groundbreaking text, Concerning the Spiritual in Art, looks to employ theological concepts as it inaugurates abstract art. Yet, the negative tendency of theology and the arts excitement is exposed in readings of Kandinsky. Too quickly the discourse moves to interpreting theology language as being consonant with theological meaning, overlooking the interesting and intricate transformations happening in art's concept of "spirituality." The question raised in this paper is, can Christian theology make sense out of this spiritual abundance? An answer will be sought by exploring the "spirit" of art in Wassily Kandinsky. A key concept for Kandinsky is the modality in operation in the spirit of art which he describes as a spiritual "inner necessity." Taking Kandinsky's cue that abstract art happens from a spirit of "inner necessity," this paper will then discuss modalities of God's Spirit within trinitarian theology. Drawings concepts from Karl Barth, Eberhard Jüngel, Wolfhart Pannenberg, and Robert Jenson, it is argued that the modality of "inner necessity" has been recognized as problematic since the modern metaphysics of G.W.F. Hegel. Given this evaluation, theology and the arts is ushered a call to reconcile the common readings of the spirit in Kandinsky's theory and art with work on the Spirit in contemporary theology.