In The 12 Apostles, Stephen Andrews plays with notions of spiritual ecstasy by reassigning the identities of the Bible’s Apostles to men from 1950s homoerotic magazines. Each figure is labelled with the name of a religious icon and is closer to the profane than the sacred. Andrews isolates the faces of men usually admired for their bodies. In this altered context, hustlers are transformed into Apostles and lowbrow photography into fine art to imply that things are not always what they appear to be.