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Eero Saarinen: Shaping the Future

Later sections of the exhibition begin to lose sight of these ideological fault-lines. In particular it might have worked well to build the emphasis on the popular rebellions of 1968 into a wider argument that from this period Cold War confrontations were not so much on the wane as reterritorialized. A large image of Giancarlo de Carlo’s installation for the 14th Milan Triennale juxtaposing protesters and barricades made out of wrecked consumer goods, for instance, hints at the ways in which designers of this era could begin to see the theater of war shifting from politics to economics. The thoughtful selections and juxtapositions of objects in “Cold War Modern” provide useful food for thought, ultimately suggesting that from 1968 onward, the Cold War became a civil conflict as much as a stand-off between geographical blocs.