Without taking away the enormous aesthetic weight of international modernity, the visitor is immersed in a sequence of spaces where the materials displayed and the processes narrated are strictly contemporaneous, but they are also radically divergent with respect to the dominant model. The first brings us into contact with the currents that run close to figurative Art, which were active in the forties and fifties and which connect with the other trends that accompanied and supported the Spanish Avant-garde since the beginning of the twentieth century. We can perceive two distinct lines. One is attracted to the grotesque, the humorous and the absurd, identifying all of those things with a certain popular Spanishness. This aesthetics can be found in the writing and attitude of Ramón Gómez de la Serna, in the comic vignettes of La Codorniz or in the theatre of Miguel Mihura.