More than 200 works (paintings, sculptures, drawings, objects, books ...) along with dozens of extraordinary films (Buñuel's Chien Andalou, commercials, theatre projects, performances with an splendid Amanda Lear, television live shows in order to dismantle Piet Mondrian...) make a new and spectacular tour through the work of the catalan genius, that has been chrono-thematically ordered.

Trying to overcome the limitations imposed by the three curators appointed by the Pompidou, I was main responsible of the Sala Mae West, the Cinema Room (with seven white Dalilips illuminated from within and converted into sofa-lamps), and the brain space that rounded off the exhibition.

In the original Mae West Room, the elevated point of view of the painting requires visitors to the Figueres installation to ascend a ladder to reach the correct viewing height. This was the second time the Fundació Gala approved the reinterpretation of the Room (the first was for the exhibition at the Palazzo Reale in Milan). Since the Fundació required an interpretation, not a faithful reproduction (it should be noted that the Mae West Room is the most popular among visitors to the Teatro-Museo), I thought a highly suggestive alternative would be to avoid having to climb a ladder to reach the ideal viewing point. Instead, by installing a camera in the room and a large screen in front of the sofa, visitors could see themselves sitting in Mae West's mouth. The installation at the Centre Pompidou was undoubtedly an improvement on the one done in Milan; we corrected minor flaws, and it was more spectacular and faithful to the original painting. The help of the Centre's excellent image department allowed us to create a floor-to-ceiling rear-projected image of extraordinary quality. The installation was such a success (every visitor took a photo of themselves with their cell phones while sitting on Mae West's lips) that strict entry controls had to be introduced. Dalí would have been delighted.