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The text aims to show the crucial relationship between the creative process of an architect and artist, who undertakes a project for a church and for the Church, and his spiritual life and his faith. It is this relationship that has determined the creation of the greatest works of sacred art and architecture throughout the history of art and of the Church. The essence of good art is its universality. Texts by church hierarchs, including John Paul II and Cardinal Joseph Ratzinger, may give artista both an inspiration and assistance in finding the meaning and form of their works. This applies equally to the relation of religious architecture to the landscape as well as the importance of sacred art in the lives of the faithful. Without this awareness, the architect and the artist often create objects which may just as well be department stores (galleries) and churches; ones in which the faithful will not find any inspiration of faith.

Inclusive, non-elitist art spaces are mounted by remarkably talented, creative individuals. Alfred Stieglitz and Donald Judd were two such individuals. Stieglitz's space was an intimate urban art gallery in Manhattan while Judd's space in Marfa, Texas was expansive, isolated, and rural. Aside from sharing the usual characteristics of the very creative, both were charismatic, physically attractive, intelligent men who held forceful visions about art. Unlike most of their peers, they had the capacity to write well and speak convincingly. Their resolute confidence and aesthetic competencies enabled them to attract and hold astute colleagues. Last they had the necessary expertise and connections to obtain resources required to maintain their vision. [ABSTRACT FROM AUTHOR]