It is taken for granted nowadays that the task of organizing an exhibition ofpainting or sculpture envolves for more than responsibility for seeing thatthe work are full documented and presented to the public in the most appro-priate way. Account has to be taken of the particular section of the publicwhich is being addressed, of the form and scope of the information to be con-veyed, of the characteristics of the exhibition area, and of a host of otherminor considerations no less vital to the proper presentation of the materi-al. A rich bibligraphy exists on this subject, leaving no clout of the problemsentailed, as well as of their variety and complexity1.An account of two exhibitions of works of art from the same collection isthus not without interest, when these occur in the same city, but at two dif-ferent moments in time, in two buildings of contrasting character and quali-ty, with financial backing of a widely differing order. These two exhibitions contained works of 20th century greek painting andsculpture owned by the Cultural Foundation of the National Bank of Greece.Part of this collection went on show for the first time in 1987 in an exhibi-tion hall at the Thessaloniki International Trade Fair. Another group ofworks, including paintings and sculptures that had been shown on the previ-ous occasion, were exhibitied in 1989 in a traditional fin de slecle buildingwhich belongs to and has been restored by the National Bank of Greece.A. S. Miles et al, The Design of Educational Exhibitis, 2nd ed., London, UnwinHyman,1 988.The first o f the two exhibitions was held in an unadapted rectangular hall200 m2 in area, with a ceiling 4 m high, situated on an extensive groundamong Windings devoted to exhibitions of a commerical character. It wasdirected towards people who would stroll into the art exhibition after theirtour of the various trade pavilions. The finance available was very limited.The second exhibition was held in a three-storey former town house withseparate rooms, painted ceilings and curved doors and was intended for peo-ple who would come especially to see both building and art show. No limita-tion was placed on the cost of mounting the exhibition.In the first case an impersonal hall in mediocre condition was required totake on character, become attractive and communicate information to alargely Indifferent, unspecialized public.In the second case a building with strong personality needed to be shown oftto best advantage, but not to the detrminet of the art work. It was hoped thatthe visitors, who were expected to have some knowledge of art Without beingspecialists, would enjoy the building as much as the work themselves.