This paper will focus on two blasphemy prosecutions that took place in 2011 and 2012 Tunisia: specifically, the prosecution of Nessma TV (precisely its president and two members of his staff) and of an artist who participated in the Al Abdellia art exhibit. The paper will focus in particular on the prosecution’s criticisms of defendants in both cases for their display of images of the divine, in physical as well as calligraphical form, in a film (Nessma TV) and in a painting (Al Abdellia). This paper will argue that prosecutors, and those who filed complaints with the public prosecutor against the defendants in these cases, relied on theological reasoning treated as common sense assertions about the place of images in Islam. This paper will also show that defendants responded by offering mitigating context for their choice to display images of the divine, though without resisting the prosecution’s overall assessment that images of the divine are prohibited in Islam. The paper concludes that common-sense notions of the impermissibility of representations of the divine is difficult to resist and functioned in Tunisia as an effective means of sidelining potentially anti-Islamist public figures in the post-Arab-Spring moment.