The architecture that emerged during this period-from International Style skyscrapers to Brutalist "social condensers"-is a manifestation of the radical pluralism, hybridity, and idealism that characterized the Yugoslav state itself. Exploring themes of large-scale urbanization, technological experimentation and its application in everyday life, consumerism, monuments and memorialization, and the global reach of Yugoslav architecture, Toward a Concrete Utopia will feature work by important architects, including Bogdan Bogdanović, Juraj Neidhardt, Svetlana Kana Radević, Edvard Ravnikar, Vjenceslav Richter, and Milica Šterić. From the sculptural interior of the White Mosque in rural Bosnia, to the post-earthquake reconstruction of the city of Skopje based on Kenzo Tange's Metabolist design, to the new town of New Belgrade with its expressive large-scale housing blocks and civic buildings, the exhibition will examine the unique range of forms and modes of production in Yugoslav architecture and its distinct yet multifaceted character.

The Exhibition will be held from July 15, 2018 to January 13, 2019, in the Exhibition Galleries on Floor Three of The Museum of Modern Art.

Organized by Martino Stierli, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art, and Vladimir Kulić, Associate Professor, Florida Atlantic University, with Anna Kats, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.

Major support for the exhibition is provided by The International Council of The Museum of Modern Art and by The Contemporary Arts Council of The Museum of Modern Art.

Generous funding is provided by the Graham Foundation for Advanced Studies in the Fine Arts.

Additional support is provided by the Annual Exhibition Fund with major contributions from the Estate of Ralph L. Riehle, Alice and Tom Tisch, The Marella and Giovanni Agnelli Fund for Exhibitions, Mimi and Peter Haas Fund, Brett and Daniel Sundheim, and Karen and Gary Winnick.

Support for the publication is provided by the Jo Carole Lauder Publications Fund of The International Council of The Museum of Modern Art.