Archduke Leopold Wilhelm in his New National Gallery

The interest of modern architecture in transparency was born corrupted because of the excessive Western attachment to the visual. Thus, the hypothesis of the invisible museum as transparent frame for the artwork became paradoxically its opposite. The container, now empty, could take the place of the content. Transparency became a more subtle form of 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].