Sistine Chapel ceiling identity of the figures in the lunettes and spandrels, continue to defy interpretation. Modern scholars have sought, as yet unsuccessfully, to determine a written source of the theological program of the ceiling and have questioned whether or not it was entirely devised by the artist himself, who was both an avid reader of the Bible and a genius. Also of interest to some modern scholars is the question of how Michelangelo's own spiritual and psychological state is reflected in the iconography and the expression of the ceiling. One such speculation is that Michelangelo was tormented by conflict between homosexual desires
Ceiling Painting/Yes Painting affirmation has been likened by Ono to the intimidating stature of a cathedral. The relationship between "Ceiling Painting/Yes Painting" and Ono's 1964 work "Cut Piece" was extensively critiqued by James M. Harding in his essay "Between Material and Matrix: Yoko Ono's "Cut Piece" and the Unmaking of Collage" in his 2012 book of essays, "Cutting Performances: Collage Events, Feminist Artists, and the American Avant-Garde". Ceiling Painting/Yes Painting Ceiling Painting/Yes Painting is a 1966 conceptual artwork by the Japanese artist Yoko Ono. The work is made from paper, glass, a metal frame, a metal chain, a magnifying glass, and a painted