Monsignor Otto Mauer's extended essay on the relationship of art and Christianity makes a startlingly relevant contribution to theological discourses relating the two. From his vantage point, art could be seen as the means of discovery - from which the latent wonders of God's creation are brought to light and given a mature form befitting the anticipated new creation of Christ. The most enduring value of Mauer's treatment is his theological affirmation of art's intrinsic drive to evolve and develop over time. Such intellectual and aesthetic flexibility has not significantly distinguished the theology and arts discourse to date. By way of a brief clarification under the heading 'Art as the Expression of Spirit,' however, Mauer mentions both "expressionism" and "impressionism" as distinct movements that indicate something deep and unchanging in the essence of art but at the same time stand incomplete in their efforts to encompass that essence. For those familiar with the way that the theologian Paul Tillich wrote and spoke about art, it would be difficult to miss the irony in such a clarification. In contrast to Mauer, Tillich famously clung to "expressionism" as the authentically religious style and gave it center place in his theological approach to art. This paper traces the overlap and discord between Tillich and Mauer, arguing that the latter offers an evocative perspective for the discourse that presents as both more carefully responsive to art's unexpected changes and more fully integrated with key Christological elements. More specifically, the benefit is clear through comparison that Mauer should be read alongside Tillich at least. Similarly, in contrast with somewhat reductive accounts in theology and the arts that select one doctrinal node with which to engage art, Mauer's example indicates that we are better served by engaging a broader range of Christological forms so as to ensure a fuller, more holistic appreciation of what art contributes.