ABSTRACT
This chapter considers the project of the Museum of Current Art (MCA) in terms of Agamben's 'example' that exists between fiction and potentiality, between a concept and an idea. This way, the MCA exists here not only as a historical coincidence, a unique document raising the interest of historians and critics, but also as a project of an ambivalent nature that stems from questions regarding actuality and contemporaneity, two categories that fuel historical research today. It indicates the relationship between the postulates voiced by Ludwinski and numerous assumptions that constituted ideas about the foundation of a critical museum in subsequent decades. The concept of the MCA grew out of the realities of 'art centres in motion' that set up numerous symposia, rallies, plein airs and festivals at a given time and place, and in which huge industrial objects, shipyards, foundries, steelworks and chemical plants, were becoming the testing grounds of modernity.
