Tabla de Contenidos: “…A review of a position / Liam Gillick -- A certain tendency of curating / Jens Hoffmann -- To be read (once every two years) / Robert Nickas -- A protest against forgetting : an interview with Jean Leering / Hans Ulrich Obrist -- A politics of interpretation / Sarah Pierce -- Constitutive effects : the techniques of the curator / Simon Sheikh -- Grand illusions : the "new" museum of modern art / Mary Anne Staniszewski -- Making new / Andrew Wilson -- Curatorial moments and discursive turns / Mick Wilson…”

Tabla de Contenidos: “…/ Iwona Blazwick -- The Plurality of Art Worlds and the New Museum / Hans Belting -- Future Freedom -- Freedom from Everything Freelancers and Mercenaries / Hito Steyerl -- Duchamp, or Freedom: A Comedy Future History / Paul Chan -- Future History -- Is Future Cultural History Possible? …”

Tabla de Contenidos: “…4.4 The Patras University Science and Technology Museum: Fulfilling the University Museum's Dual Role4.5 A New Museum of Electrical Technology in Pavia: A Public Museum in a University Campus; 4.6 New Horizons for the Crafts Study Centre Collection and Archive; Conclusions…”

“…Particular attention is given to the holotypes, the Elban Collection and the minerals of pegmatites, as well as the methods and solutions adopted to realize the project of the new museum exhibition set-up. The third and last part describes the studies carried out on the materials: from the minerals of the systematic collections to the rock specimens that recount not only the geodiversity of a region but also the history of a city…”

Tabla de Contenidos: “…Aspire Tower (Doha, Qatar) / AREP Groupe, Arup. New Museum of Contemporary Art (New York, USA) / SANAA Kazuyo Sejima+Ryue Nishizawa. …”

Tabla de Contenidos: “…Zaha Hadid Architects, Mayer Bährle Freie Architekten. New Museum in New York, Arq. SANAA/Kazuyo Sejima + Ryue Nishizawa. …”

“…Particular attention is given to the holotypes, the Elban Collection and the minerals of pegmatites, as well as the methods and solutions adopted to realize the project of the new museum exhibition set-up. The third and last part describes the studies carried out on the materials: from the minerals of the systematic collections to the rock specimens that recount not only the geodiversity of a region but also the history of a city…”

“…A los sesenta y seis años, tenía detrás más de cuarenta dedicados al arte: fue comisaria en el Whitney Museum, y fundó en 1977 el New Museum, para desarrollar las ideas, tendencias y líneas de trabajo que nunca encuentran cabida en las instituciones tradicionales. …”
Texto completo en Odilo

Tabla de Contenidos: “…Museological Questions -- The Voice of the Curators -- Something Old, Something New: Creating the Narrative for the Early Modern Galleries / The Nineteenth-Century Gallery / The Interwar Gallery / Curatorial and Educational Challenges in Creating the Holocaust Gallery / Assumptions behind the Postwar Gallery of the Core Exhibition at POLIN / Comments on the Museum -- Polish-Jewish Historiography 1970-2015: Construction, Consensus, Controversy / POLIN, The Medieval and Early Modern Galleries A Comment / Modernity and Identity Polish Jews Facing Change in the Nineteenth Century / Hasidism in the Museum: The Social History Perspective / What's in, What's out: A Critique of the Interwar Gallery / The Truth and Nothing But: The Holocaust Gallery of the Warsaw POLIN Museum in Context / Perspectives: A Lithuanian Visit to the POLIN Museum Holocaust Gallery / Polin: A Bildungsroman / A Historian's Response Comments on the Gallery "After the War" / Museums and Education -- Jewish Tourism to Poland: The Opportunities for New Museum Narratives to Recontextualize Jewish Histories / Jewish Museums in Moscow / The Challenges of New Work in History and Education about the Holocaust in Poland / Part Two. …”

Tabla de Contenidos: “…(Comprehensive Office Building, Zhujiajiao Administration Center, Quingpu, Shangai, China, 2004-06), p. 334 ; PAULO MENDES DA ROCHA (Our Lady of the Conception Chapel, Recife, Pernambuco, Brazil, 2004-06), p. 340 ; CORINNA MENN (Conn Viewinf Platform, Flims, Switzerland, 2005-06), p. 346 ; MERKX + GIROD ARCHITECTEN (Selexyz Dominicanen Bookstore, Maastricht, The Netherlands, 2005-07), p. 352 ; JOSÉ RAFAEL MONEO (Prado Museum Extension, Madrid, Spain, 2001-07), p. 358 ; MORPHOSIS (Hypo Alpe-Adria Bank Headquarters, Udine, Italy, 2004-06), p. 364 ; MVRDV (GYRE Building, Shibuya-ku, Tokyo, Japan, 2006-07), p. 372 ; MANFREDI NICOLETTI (New Arezzo Hall of Justice, Arezzo, Italy, 2001-07), p. 378 ; VALERIO OLGIATI (Atelier Bardill, Scharans, Switzerland, 2006-07), p. 382 ; STUDIO PEI – ZHU (Digital Beijing, Control Center for the 2008 Olympics, Beijing, China, 2005-08), p. 386 ; RENZO PIANO (The New York Times Building, New York, New York, USA, 2005-07), p. 394 ; PTW ARCHITECTS (The Watercube, National Swimming Center, Beijing, China, 2003-08), p. 404 ; STUDIO ARNE QUINZE (Uchronia Message out of the Future, Burning Man Festival, Black Rock City, Black Rock Desert, Nevada, USA, 2006), p. 412 ; RCR ARQUITECTES (The Edge, Bussines Bay, Dubai, United Arab Emirates, 2008-), p. 418 ; ROJKIND ARQUITECTOS (Nestlé Chocolate Museum (Phase I), Toluca, Mexico City, Mexico, 2007), p. 424 ; MARC ROLINET (Chapel of the Deaconesses of Reuilly, Versailles, France, 2004-07), p. 430 ; HANS-JORG RUCH (Chesa Madalena, Zuoz, Switzerland, 2001-02), p. 438 ; SANAA/SEJIMA + NISHIZAWA (De Kunstlinie, Theater and Cultural Center, Almere, The Netherlands, 2004-07 / New Museum of Contemporary Art, New York, New York, USA, 2005-07), p. 442 ; THOMAS SCHÜTTE (Model for a Hotel, Fourth Plinth, Trafalgar Square, London, UK, 2007-08), p. 456 ; SCOPE CLEAVER (Princeton University Gallery of the Arts, Princeton University (120, 204, 24), “Second Life”, 2007), p. 460 ; ÁLVARO SIZA VIEIRA (Adega Mayor Winery, Argamassas Estate – Campo Maior, Portugal, 2005-06 / Iberê Camargo Foundation, Porto Alegre, Rio Grande do Sul, Brazil, 1998-2008), p. 466 ; SNØHETTA (Oslo Opera House, Oslo, Norway, 2003-08), p. 484 ; TONKIN LIU (Singing Ringing Tree, Crown Point, Burnley, UK, 2005-06), p. 492 ; BERNARD TSCHUMI (Zénith Concert Hall, Limoges, France, 2005-07), p. 496 ; UNSTUDIO (Hotel Castell, Zuoz, Switzerland, 2001-04 / Theater Agora, Lelystad, The Netherlands, 2004-07), p. 502 ; URBANIS (Dafen Art Museum, Dafen Village, Shenzhen, China, 2006-08), p. 516 ; PEKKA VAPAAVUORI (KUMUU, Main Building of the Art Museum of Estonia, Tallinn, Estonia, 2003-06), p. 524 ; VARIOUS ARCHITECTS (Make It Right/Pink Project, New Orleans, Louisiana, USA, 2007-), p. 530 ; WANDEL HOEFER LORCH (Ohel Jakob Synagogue, Jewish Center in Munich, St.…”

“…It is the topic of exhibits and new museums, of memorial days and historic sites, of documentaries and movies, of arts and culture. …”

“…He writes about Le Corbusier's training; his coming to live and work in Paris; the ties he formed with Nehru, Brassai, Malraux who championed Le Corbusier's work and commissioned a major new museum for art to be built on the outskirts of Paris, Einstein, Matisse, the Steins, Picasso, Walter Gropius, and others. …”