In the twelfth biennial art competition at the Church History Museum, 148 Latter-day Saint artists explore the artistic and theological possibilities of the theme “All Are Alike Unto God.” More than a third of the artists fix on “All” for their theme.  Many depict the “All” as a sea of faces in varying dress, complexions, expressions. Nearly as common are Ingenious geometries of multiple circles, squares, triangles, blobs of many colors and shapes. Variety takes the form of books, shoes, hands, shells, butterflies, eggs, all pretty much the same in scale and importance. One apparent assemblage of variegated shells and sea creatures reveals itself, if one steps back a few paces, as the face of an Island maiden. Approaching the theme from another angle, paintings of single figures address the theological question via a unique person. Each stands alone, yearning; will they be heard? Colby Sanford’s woman in the dusky woods outside of her dark house prays that her secret sorrows will be understood. A half-comic take-off by Megan Knobloch Geilman of the classic Pietà shows a Mary figure barely holding on to a large unshorn sheep on her lap, looking heavenward for aid. The image is arresting because it suggests the awkwardness that went with caring for the Savior’s dead body. Is the atonement itself sometimes a little ungainly? Abigail Palmer paints a little blond girl looking squarely at us from a large (5’x4’) canvas. The broad splashes of pink, blue, yellow, red, green suggest there is more inside this little girl than she herself understands. She pleads for help we don’t quite know how to give.—Richard Bushman (Church History Museum; through April 1, 2023.)