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This article analyses museum responses to the contemporary tensions and violence in response to images of Muhammad, from The Satanic Verses to Charlie Hebdo. How does this socio-political frame effect the Metropolitan Museum of Art in NY, the V&A and British Museum in London, and the Louvre in Paris? Different genres of museums and histories of collections in part explain differences in approaches to representations of Muhammad. The theological groundings for a possible ban on prophetic depictions is charted, as well as the widespread Islamic practices of making visual representations of the Prophet. It is argued that museological framings of the religiosity of Muslims become skewed when the veneration of the Prophet is not represented.

Modernist theories of development and democratization predicted that secularization would lead to the disappearance of religion. This has not happened. But contemporary democratic states are secular and define religion as a private matter. At the same time, a politics of recognizing religiosity is deeply rooted in the modern state, and it is obvious that intangible values play an important role and have a valid claim to public spaces. On the metaphorical agora, the square that constitutes the middle ground between the cathedral and the parliament, commitment born in the cathedral is transformed into rational arguments that can be presented in parliament. But who governs the square? Do spiritual values need a public defence? Can or should all religious commitments and expressions be transformed into profane arguments? How could public spaces be designed and maintained to promote peaceful mediations between profane, sacred and other principled commitments? By assembling artistic and academic thinkers who do not confine themselves to intellectual analysis, but demand our involvement and our realization that we are part of the processes we are considering, this Focus contributes to a discussion of religiosity and public spaces in post-secular societies.

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