The Hamburger Bahnhof – Nationalgalerie der Gegenwart presides over a comprehensive collection of contemporary art, which it presents in a variety of exhibitions. It is the largest among the buildings housing the Nationalgalerie’s extensive holdings, the remainder of which are divided into the Alte Nationalgalerie, the Neue Nationalgalerie, the Museum Berggruen, and the Sammlung Scharf-Gerstenberg.
The museum’s name refers to the building’s original function as one of the first terminal stations of the rail system in Germany. It opened as the terminus of the railway line between Hamburg and Berlin in December 1846. The building’s late Neoclassical style was conceived by the architect and railway pioneer Friedrich Neuhaus. It set an architectural precedent for the subsequent designs of Berlin’s train stations through the second half of the 19th century. Today it is preserved as the city’s only train station remaining from that time.
The museum expanded significantly to accommodate the long-term loan of the Friedrich Christian Flick Collection, which was exhibited at the museum from 2004 to 2021. The former dispatch warehouses located behind the main building were renovated by the architectural firm Kuehn Malvezzi and connected to the historical building via a passage. The resulting structures, which became known as Rieckhallen, increased the available exhibition space to approx. 10.000 square metres. Today the Nationalgalerie’s Hamburger Bahnhof – Nationalgalerie der Gegenwart division is one of the largest and most significant public collections of contemporary art in the world.







The Hamburger Bahnhof – Nationalgalerie der Gegenwart presides over a comprehensive collection of contemporary art, which it presents in a variety of exhibitions. It is the largest among the buildings housing the Nationalgalerie’s extensive holdings, the remainder of which are divided into the Alte Nationalgalerie, the Neue Nationalgalerie, the Museum Berggruen, and the Sammlung Scharf-Gerstenberg.
The museum’s name refers to the building’s original function as one of the first terminal stations of the rail system in Germany. It opened as the terminus of the railway line between Hamburg and Berlin in December 1846. The building’s late Neoclassical style was conceived by the architect and railway pioneer Friedrich Neuhaus. It set an architectural precedent for the subsequent designs of Berlin’s train stations through the second half of the 19th century. Today it is preserved as the city’s only train station remaining from that time.
The museum expanded significantly to accommodate the long-term loan of the Friedrich Christian Flick Collection, which was exhibited at the museum from 2004 to 2021. The former dispatch warehouses located behind the main building were renovated by the architectural firm Kuehn Malvezzi and connected to the historical building via a passage. The resulting structures, which became known as Rieckhallen, increased the available exhibition space to approx. 10.000 square metres. Today the Nationalgalerie’s Hamburger Bahnhof – Nationalgalerie der Gegenwart division is one of the largest and most significant public collections of contemporary art in the world.







Wolf Tones presents the work of six artists as a refracted analogy of an acoustic phenomenon. The wolf tone is an irregular vibration produced by a musical instrument such as the cello. It is the result of an acoustic conflict produced by its wooden body.
“Constellations: Contemporary Jewelry from the Dallas Museum of Art” showcases more than 350 works from one of the most significant contemporary jewelry collections in the United States.
Throughout his prolific career, Marc Chagall (1887–1985) returned time and again to the vivid imagery of acrobats, clowns and fantastical performers. Marc Chagall: The Circus will present Chagall’s celebrated lithographs on this subject…
Van Herpen transcends conventional clothing norms while embracing both traditional couture artisanship and innovative techniques. Ranging from the micro to the macro, the exhibition explores the body’s place in space…
Boyd commissioned the tapestries, part of his extensive artistic exploration of the life of Saint Francis, from the Manufactura de Tapeçarias de Portalegre, Portugal, and they were purchased by the National Gallery in 1975