The reopening of the Museum, in July 2001, was a major moment in the history of the institution and a valuable event in the field of artistic culture. After a prolonged silence, he returned to the enjoyment and knowledge of the various audiences, both the long-treasured thesauri and those closely acquired, invigorated in a new museological projection; and this, was carried out in newly adapted buildings, with the highest responsibility and specialization that had been achieved in our circumstances. The new curatorial and museological conformation had managed to present four hundred and ninety-four more works of Cuban art and three hundred and ninety-five foreign art in relation to those shown until the year of closure, for a 64% increase in exponents in permanent visibility, made possible by a 94% increase in the available square meters as exhibition areas. In the Cuban art building appeared the most splendid room on Wifredo Lam that exists; the deserved sets of the masters of the Vanguard; the elegant spaces for the cabinet pieces; the new historical nuclei suggested by the curatorial review; the pieces of the creators who lived on the Island and those who decided to make art outside of it; or the emergence of the new vanguard of the eighties. All together, without distinctions other than those that the best art imposes, flooded the Fine Arts building forty-seven years after Morey did. The same Museum, with the same engravings of Laplante or the paintings of Guillermo Collazo, now twinned in a heritage flow born from the symbolic productions that weave five years after five years, intermingled in living, the creators, the receivers and the art institution of each generation. And two blocks from Fine Arts, the luxurious building of the Universal Art Building opened as a fascinating setting for the Condes de Lagunillas Antiquity Art Collection, or provided its spacious galleries to the overwhelming supply of Spanish art, to the well-known schools European and t

past events