This show, representing 140 years of Christ history, confidently displays some of the most influential contemporary-era photographers - Diane Arbus, Andre Kertesz, Renee Cox, French artist Orlan, Robert Frank, Lazlo Maholy-Nagy, and Aaron Siskind with Edward Weston (brought together by Nissan N. Perez, curator of the Israeli Museum.) These artists have used photography as a method of exploring history and religion.

This depiction of the story of Jesus Christ is graphic at times. Those who cannot handle the sight of blood might have some difficulty viewing those particular images. Some may question whether they are necessary, but in a show of this nature, controversy plays an important role.

Some of the pieces that make this show both notable and essential – particularly in the case of “art for arts sake” – are the two vintage albumin “Shroud of Turin” prints from 1898. Vik Muniz’s “Last Supper” – formed from pictures of chocolate – is also lovely. Acclaimed French Artist Orlan’s delicate “Saint Suaire No. 21” duratran print glows in its light box like a treasure from another world.

Jesus Christ Superstar also allowed me to revisit an artist for whom I have previously provided coverage: Renee Cox. Ms. Cox is easily identifiable in the show; she places herself in all of her photographs. This particular series, in which she appears as Jesus, nude, is titled “Yo Mama’s Last Supper.” It is much smaller than her grandiose show at Robert Miller. “Yo Mama’s Last Supper” consists of five small images mounted on Bainbridge or matt board that float quite nicely on the white gallery walls. They do not disappoint. The lusciously colored images are appropriately packed with religious iconography and stances. The series provided relief from the intensity of some of the other works.

The most intriguing aspect of the show is the way onlookers have reacted to these pieces. Many could not enter the room housing the slaughtered animal prints, but some of the other images were touching, surprisingly humorous and heart-felt in their representation. Such is the case for Raoef Masmedov’s “The Last Supper.”