ABSTRACT
Student revolts and other social unrest of the late 1960s and early 1970s challenged the supreme model of Museum of Modern Art (MoMA), to which the whole of the western world had turned as the flagship project of American culture. Paris was the main centre for the rebellious spirit of a new era; this is why particular attention should be paid to the Pompidou Centre, which was created in response to these social movements. It may seem curious that the Centres adherence to the mainstream model for a museum of modern art, which was by then being contested even in New York, should have passed completely unnoticed by Beaubourg's chroniclers. Unlike the Pompidou Centre the Carr dArt, built between 1988 and 1992, makes no use of primary colours and there is no insistence in drawing attention to itself. However, none of the museums attempted to follow scrupulously the museography of the Pompidou Centre.
