To reflect the richness of its collections better, the National Museum of Theater has become the National Museum of Performing Arts, a change of name that crowns a thorough upgrading of both its content and its container. The new building will no longer be home to Giuseppe Anselmi’s heart and Julián Gayarre’s larynx, in accordance with a decision not to expose human remains, and neither has it kept the original stairs and other elements that hindered the flow of the exhibition that in the early 2000s settled in Almagro’s Palacios Maestrales. Finally freed of these features, the central cube of stone has gained back its protagonism in what is a visually clearer complex, where voids reinforce the connection between floor levels and light slides down from some overhead openings. The criss-crossing of gazes also enriches the museum project, with exhibits and display cases – hardly 1% of the centenary institution’s possessions – that are more intuitive for the visitor and are enhanced by new voids, which result in multiple perspectives and give the edifice a more appropriately theatrical character.