Since the 1970s, Brazil has faced the exponential growth of churches called neo-Pentecostals, resulting in a consistent and accelerated increase in the brazilian evangelical population. It is estimated that in approximately a decade evangelicals will be the largest religious group in Brazil, overriding the Catholic hegemony that had been maintained for more than five centuries. This phenomenon of religious transition in Brazil has been increasingly visible in the public discussion, influence on politics and impact on socioeconomic and cultural aspects of the country. However, even with all this prominence, elaborations on Brazilian Pentecostal growth that propose readings outside the scope of sociology or anthropology are still rare. This research seeks to investigate how emergent narratives associated with Pentecostal codes appear in the works of contemporary Brazilian artists, addressing the different socio-cultural contexts in which artistic representations on the subject are produced - and where they circulate, tracing points of contact between history of evangelicalism in Brazil and its few (albeit increasing) insertions in the context of the visual arts. For this objective, the artistic work of Ventura Profanawill be highlighted, in dialogue with other contemporary artists, such as Bárbara Wagner and Benjamin de Burca, Coletivo A Noiva, Guerreiro do Divino Amor, Leandro Vieira, Maxwell Alexandre and Virgínia de Medeiros, paying particular attention to the curatorial and institutional contexts in which the works are presented. When addressing the contacts points between (neo)Pentecostal evangelicalism and contemporary art in Brazil, possible relations - of approximation or contrast - between the Brazilian modernity projects proposed by these groups and movements, encompassing discussions about the modern concept of secularization and the supposed re-enchantment of the world in postmodernity.Considering contemporary art as this unrestricted and permeable segment, the research proposes dialogues with artistic productions that go beyond the limits of visual arts, bringing to the discussion field references from different areas of knowledge. In this way, I seek to conduct a critical thought on the topics related to this research that avoids a reductionist reading of the burning and complex theme of the evangelical presence in Brazil.