Tony Kushner's Angels in America has been most visible of recent plays about life in age of Acquired Immune Deficiency Syndrome (AIDS). Both part 1, Millennium Approaches, and part 2, Perestroika, enjoyed long runs on Broadway after opening in May of 1993, and part 1 received 1993 Pulitzer Prize for Drama. Although not only dramatic piece dealing with AIDS, Angels in America has distinction of being hailed by some as the most important theatrical event of latter part of century (Weber 29-30). play is a two-part, sevenhour-long production that takes the AIDS plague as central defining metaphor for a national spiritual decline during 1980s and as a starting point of a social order for next century (30). Heavily intertwined with this message is theme of judgment. Prior Walter, a main character with AIDS, feels dirty, as though his heart is pumping polluted blood. He literally wrestles with angels to try to figure out why such a disastrous illness has come to plague earth (Kushner, Millennium Approaches 34). As he grows ever sicker, Prior finds himself drawn to cosmologies with judgment, no guilt, or responsibility (42). However, as American Prophet, Prior finds that there really is no judgment. Angelic symbolism has been appropriated traditional religious systems in order to shape new strategies of individual and collective behavior in a period of social transformation. Using sociological theories of Emile Durkheim (Elementary Forms) and Peter Berger and Thomas Luckmann (Social Construction), will explore resurgent popularity of angel imagery in United States of America 1990 through 1996, and its relation to AIDS epidemic. A person interested in bringing angelic symbolism into play can attend workshops and join networks devoted to contacting angels, and can read some of 200 or so books on subject of angels which have been published since 1990 (Woodward 57). One can surf Ring of Internet sites on World Wide Web. And interested individual can even dress for these activities in a complete array of angel clothing, from an angel vest and suspenders to angel boxer shorts, finished off with a splash of Angel Water- perfume (Colt 71). None of above even begins to touch numerous angel statues, pictures, and assorted tchotchkes that have flooded market. One woman in Wisconsin has collected 11,161 angel artifacts (Colt 62). Angels have had an undeniable presence in commercial realm. No matter how trivial current angel symbolism might appear, however, it is my contention that social relations behind use of angel symbolism are anything but trivial. Angels could just be latest in a series of images found to fit a gap in consumer market, perhaps as successor to unicorns and sunflowers of 1980s. Yet, multiple subjective meanings associated with angels argue against notion that this imagery is just part of a marketing fad. Angels are religious images, and as commercialized as angels have become, it is significant that Americans have recently shown such fascination with these particular religious symbols. People are grasping for something spiritual, perhaps to deal with hopelessness of drug addiction, narrow prospects in job market, or maybe just to deal with fears and anxieties associated with end of millennium. In this work, will argue that angels reached new heights in popularity 1990 through 1996, because an angel represents a spiritual but non-judgmental sign of divine intervention to help people deal with AIDS crisis. From a theoretical standpoint, there can be varying interpretations of past and present faith in angels. Karl Marx believed that Men are producers of their conceptions, ideas, etc., including their religious systems (Marx, The German Ideology 27). angels, devils, and gods of any religion may appear to humans as independent beings endowed with life and entering into relation both with one another and human race, but they are, in Marxist terms, no more than social constructs reflecting material conditions and historically specific circumstances of human beings (Marx, Capital I 64-65). …