Museum of Modernism is a new exhibition location of the Lviv National Gallery of Arts named after B. G. Voznitsky. In the 7th halls of the newly created museum a retrospective of Lviv art, visualizing the worldview of modernism: from the first early modern experiments in the direction of man-made progress — to refined examples of the aesthetics of late structuralism, with its emphasis on the reinterpretation of ancient cultures e cosmogonismo.

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Begins the exposition of the halls of the historical avant-garde and high modernism: the art of 1914-1939, which radically opposed the reproduction of real reality, went along with the development of scientific and technological progress, was inspired by political ideologies and opposed to them.

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Another section of the exposition illustrates the existential sensitivity of post-war society and the state of social alienation of Lviv intellectuals in the era of totalitarian pressure of 1939-1953. Here, for the first time, varieties of tactile abstraction and early structuralism in the authorship of Karl Zvirinsky and the artists of his “sealed circle” are systematically presented.

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The next hall reveals the phenomenon of Yevhen Lysik — a unique modern scenographer and existentialist artist. Unique sketches of his stage solutions and author's large-format graphics of the 1960-1980s are exhibited in the hall.

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The fourth hall is dedicated to the post-industrial revolt of Lviv nonconformists. Author's series of works by Lyubomir Medvid 1967-1968, Ivan Ostafiichuk 1972-1974, Roman Zhuk 1973-1974, Roman Petruk's compensations in the 1970s — reveal a reflection on the global social shifts of the second half of the twentieth century. The works trace the influences of European currents: dadaism, surrealism and neo-expressionism.

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The fifth hall illustrates the large-scale phenomenon of the “Lviv neo-avant-garde” - the art of 1962-1975, illustrating the brief period of the return of modern stylistics to Lviv art thanks to the “Khrushchev thaw” and the new ideological course of official art of the mid-1970s under the guise of “of Soviet modernism” and “strict style”.
The last hall visualizes the transitional age between Lviv modernism and postmodernism. The works of Miroslav Yagoda, Roman Zhuk, Rostislav Lach, Andriy Sahaydakovsky reveal the phenomenon of antisocial alienation and existential cry, close to the western definition of “trans-avant-garde”.

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