Described by Belgian media as “a palace of steel, glass, wood and marble, whose elegance lies in its own containment,” the Yugoslav pavilion at the 1958 EXPO, was one of the rare ones praised by critics and the public alike.
Unlike the monumental pavilions of the great Cold War forces (the US and the USSR), this pavilion was intended, and understood, according to architecture historian Vladimir Kulić, as “a representation of a reformed, liberal, self-managed socialism of Yugoslavia, different from the world behind the Iron Curtain.
This interpretetaion was only partly due to the exhibition about the political and social conditions showwn in the pavilion, and much more due to the West’s already established view of Yugoslav modern art […] symbolizing the break with the Soviet sphere, and the absence of socialist realism mirrored that of the direct political interference in artistic freedom.”1





1 V. Kulić, “Richterov paviljon u Bruxelles-u u pedesetoj,” in Oris Journal