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After the completion of the museum building and before launching the museum’s activities in earnest, it was considered a good idea to hold a number of open days so that the general public in Barcelona could get to know the building first hand. From 30 April to 1 May 1995, eighteen works of art belonging to the various holdings of the Consortium were exhibited in the museum’s spaces. There was no curatorial intention beyond that of presenting the building’s exhibition spaces.

Two works belonging to Barcelona City Council, one by Carlos Pazos entitled I Cried Again That Night with Bambi (1982), and the other by Sergi Aguilar entitled Central (1986), could be seen in Space 1A on the first floor of the museum. Donald Judd’s work Untitled (1968-85), in anodised aluminium and blue acrylic belonging to the «la Caixa» Collection, and Eva Lootz’s lead and tin tongue Untitled (1988), belonging to the MACBA Foundation, were shown in Space 1B.

The biggest space on floor 1 was taken up with Jorge Oteiza’s works entitled Conjunción dinámica de dos pares de elementos curvos y livianos (1957) and Variante ovoide de la desocupación de la esfera (1958), belonging to the MACBA Foundation, as well as Günther Förg’s work Untitled (1988), belonging to «la Caixa». The final space on this floor was occupied by Robert Rauschenberg’s work Untitled (1972), belonging to the MACBA Foundation.

Tony Cragg’s sculpture, made up of different elements, entitled Mollusc (1987) and belonging to the «la Caixa» Foundation’s Contemporary Art Collection, was exhibited in the tower located on the first floor of the building.

On the second floor of the museum, the exhibition route began with Mario Merz’s work Untitled (1972) in Space 2A, followed by Angel Ferrant’s Sèrie Venècia 19 (1960), and Jorge Oteiza’s sculptures entitled Caja metafísica por conjunción de dos triedros (1958-59) and Desocupación no cúbica del espacio (1958-59) in Space 2B.

Pride of place in Space 2C were Richard Long’s Catalan Circle (1986), belonging to the «la Caixa» Foundation, and Michelangelo Pistoletto’s Architecture of the Mirror (1986), from the Government of Catalonia’s holding.

The two final places in Space 2D at the end of the exhibition route on the second floor were occupied by Susana Solano’s sculpture entitled Associació balneària núm. 2 (1987), belonging to Barcelona City Council, and Gilberto Zorio’s Per purificare le parole (1984), belonging to the MACBA Foundation.

It could be my bedroom (or something similar to it). Even the same technical characteristics: all the walls and volumes constructed in this module of raw canvas for painters to measure me and measure ourselves.
Pep Agut