Shock Theft — Baby Jesus Vanishes

Jesus and disciples seated at a long table.

A faceless nativity scene in Brussels became ground zero for a culture war when thieves stole the infant Jesus figurine, exposing how progressive artistic choices in public religious displays provoke fierce backlash from traditional communities.

Story Snapshot

Controversial faceless nativity scene at Brussels Grand Place targeted by thieves who stole the infant Jesus figurine over the November 28-29 weekend
Artist Victoria-Maria Geyer designed cloth figures without facial features to promote “inclusivity,” sparking immediate social media outrage and political criticism
Center-right politician Georges-Louis Bouchez condemned the display, comparing figures to “zombie-like” people, framing the artwork as un-Christian
Baby Jesus thefts represent an enduring Christmas season phenomenon, often carried out as pranks, raising questions about security for publicly-funded religious displays
Authorities replaced the stolen figurine and increased monitoring, while public sentiment paradoxically shifted toward supporting the artist’s vision

Artistic Vision Meets Political Firestorm

The Brussels nativity scene was created by devout Catholic artist Victoria-Maria Geyer specifically for the 2025 Christmas season. Geyer deliberately crafted cloth figures without facial features, intending to allow “every Catholic, regardless of their background or origins” to identify with the nativity story. This design choice immediately generated fierce social media backlash, with critics questioning whether faceless religious figures represented authentic Christian tradition or progressive ideology masquerading as inclusivity.

Georges-Louis Bouchez, head of Belgium’s center-right MR party in the ruling coalition, publicly attacked the display on X (formerly Twitter), stating that Geyer’s cloth Christ “in no way represent the spirit of Christmas.” Bouchez compared the figures to “zombie-like” people found at train stations, crystallizing conservative concerns that non-representational religious art alienates traditional believers and abandons centuries of Christian artistic heritage.

A Recurring Holiday Theft Pattern

The Brussels theft reflects a documented “enduring and illegal practice” of baby Jesus figurine thefts during the Christmas season. These thefts typically target outdoor public and private nativity displays and are “believed to be part of a yearly tradition, often carried out by bored teenagers looking for an easy prank,” though motivations vary widely. Some figurines are stolen for resale, while others become subjects of elaborate pranks involving relocation to unexpected locations. The Brussels nativity has experienced previous thefts and damage in past years, indicating vulnerability of high-traffic public displays.

Public Backlash and Security Concerns

The theft occurred at Brussels’ Grand Place, one of Europe’s most iconic public squares, where the nativity display attracts millions of visitors annually during the Christmas market. The high-visibility location and accessible design made the display vulnerable to theft despite its prominence. Following the incident, Belgian authorities replaced the stolen figurine and organizers announced increased monitoring, though no additional physical security measures were implemented beyond closer surveillance, suggesting organizers prioritized maintaining public accessibility over enhanced protection.

Belgian authorities are mystified over a brazen theft over the weekend from a Christmas Nativity scene of an icon of infant Jesus Christ that had been widely scorned online, the… https://t.co/VrF0feyjh7

— Newser (@Newser) December 2, 2025

Brussels resident Francis De Laveleye expressed community concern that “arguments of artistic merit should never descend into such a sordid affair,” reflecting sentiment that the controversy had escalated beyond legitimate artistic debate into destructive action. Belgian authorities described themselves as “mystified” by the theft, with investigation status remaining unclear and no suspects publicly identified, leaving open questions about whether the theft was ideologically motivated by the controversy or a random prank.

The Paradox of Progressive Backlash

Despite intense initial criticism, artist Victoria-Maria Geyer reported that “an initial deluge of negative comments on social media has turned positive,” suggesting the theft may have generated unexpected sympathy for her artistic vision. The incident demonstrates how progressive institutional choices in public religious spaces can generate fierce conservative opposition, yet simultaneously create counter-narratives where critics of the artwork appear intolerant. This dynamic raises ongoing tensions about balancing artistic freedom with community expectations in publicly-funded religious displays.