Just as one ponders the question of whether or not the refrigerator light stays on when the door is closed, so too does this article underscore the importance of the audience in achieving the goals of the devotional portrait diptych. Did anyone follow that? In order for these diptychs to be effective both spiritually and in the public realm, they had to be created within the display culture that we discussed in the article about profile portraits of women. What is fascinating about this seemingly Renaissance phenomenon is that it could have had such a profound impact not only on form, but also on content. I would love to discuss the notion of “being private in public” and gender, for in many ways this article tells a story that was voiced by several of the artists and art historians in Mira Schor’s piece. Books of Hours as a “woman’s place” versus the painted devotional panels that publicly proclaim the male’s spiritual conviction and his status. The medium is the message. What do you think about the distinction between men’s holy actions and the manifestations of female spirituality? Le plus ca change….