Archduke Leopold Wilhelm in his New National Gallery
The interestof modern architecture in transparency was born corrupted because of the excessive Western attachmentto the visual. Thus, thehypothesis of the invisible museum as transparentframe for the artworkbecameparadoxically its opposite.The container, now empty, couldtake the placeof the content. Transparency became a more subtle formof opacity.
Image after David Teniers' Archduke
Leopold Wilhelm in his Picture Gallery in Brussels
(c. 1651) [pd] and Mies van der Rohe's Neue Nationalgalerie in Berlin (1968, photo: Christian Beirle González) [fu/fd].