Today, museums dedicated to contemporary art can be found in nearly every capital city around the globe. Yet in 1972, when the Museum of Contemporary Art was established in Yerevan, it stood alone—not only in the Soviet Union but across the entire Eastern Bloc. Its creation was not the result of favorable circumstances but rather a defiance of them. In an era dominated by Socialist Realism, state support for such an institution was unthinkable. The museum was born from the passion and persistence of local artists and the Armenian diaspora, funded entirely by their donations.
At that time, institutions dedicated to modern art were flourishing worldwide, yet Armenia’s breakthrough came thanks to the unwavering initiative of Armenian artist Henrik Sureni Yigitian. He served as the museum’s director for 37 years, shaping its identity and guiding its mission. His vision was supported by Yerevan’s then-mayor, Grigor Asratyan, and a group of like-minded artists. Together, they laid the foundation for an institution that would break with the rigid artistic conventions of its time.
Back in the 1930s, the Hermitage in Leningrad had a secret room where modern artworks were quietly collected, shielded from the scrutiny of Soviet censors. Artists who explored new visual languages and philosophical inquiries—seeking to reflect a rapidly changing world—were largely dismissed or outright persecuted by official art institutions. The infamous “Bulldozer Exhibition” of 1962, violently dispersed by authorities, became a tragic symbol of the systemic crackdown on non-conformist artists. What followed was an era of ideological repression in which many artists faced exile, blacklisting, or total erasure.
Even though Nikita Khrushchev later acknowledged his misjudgment in a 1964 conversation with artists—after his resignation—the damage had been done. Censorship remained entrenched. In 1966, in the remote desert-surrounded city of Nukus in Karakalpakstan, Moscow-born artist Igor Savitsky began quietly collecting banned works. Yet it was only in Yerevan that a museum openly declared its dedication to contemporary art.
The foundation of the museum’s early collection was built upon the works of the so-called “Sixtiers”—a generation of artists from the 1960s whose experimental and bold visions marked a stark departure from artistic orthodoxy. Over time, the museum’s collection grew to include works by artists of the 1980s and beyond. Armenia, with its modest avant-garde scene, expanded its holdings by showcasing the creations of artists from the Armenian diaspora, including Haik Mesropian (Switzerland), Sam Grigorian (Germany), Ziba Afshar (USA), and Talin Zabounian (France).
Today, the museum boasts one of the most significant collections of Armenian sculpture and painting from the 20th and 21st centuries. The exhibit opens with the renowned “Red Room” by Jean Carzou, a French artist of Armenian descent, whose vivid palette immediately commands the viewer’s attention. The brilliance of the artworks is further heightened by the stark simplicity of the whitewashed walls, drawing sharp contrast and evoking deep emotional responses.
Visitors are particularly drawn to the works of Minas Avetisyan, whose art reflects themes of Armenian nature, spirituality, and human experience. His landscapes and still lifes, bathed in light and optimism, stand as luminous testaments to resilience and survival, especially poignant in the context of his personal history shaped by the Armenian Genocide.
Noteworthy highlights in the collection include Jean Carzou’s illustrations for the novels of Ernest Hemingway, Hakob Hakobyan’s evocative Railway Station, Harutyun Kalents’s radiant Still Life, and Vazgen Bazhbeuk-Melikyan’s poignant work Father.
The museum’s collection continues to grow. In 2004, American philanthropist Grigor Muradyan donated paintings and sculptures by Emil Gazaz. In 2010, the Zangezur Copper and Molybdenum Combine contributed by purchasing sculptures by Garen Bedrossian for the museum.
Despite its rich collection, the museum still lacks a dedicated building that fully matches the significance of its holdings. Nevertheless, the power of the artworks transcends physical space. A visit to the museum offers an uplifting, aesthetic journey and a powerful emotional experience.
The building itself is a rarity in Yerevan—arguably the city’s only example of neo-constructivist architecture. Its minimalist interior, marked by clean lines and white walls, was intentionally designed to let the art speak for itself. This deliberate restraint allows the vibrancy of the exhibitions to shine through all the more vividly.
The museum’s signature gallery, “The Red Room” by Jean Carzou, sets the tone for a captivating journey. Works by prominent diaspora artists such as Haik Mesropian, Sam Grigorian, Ziba Afshar, and Talin Zabounian form a vital part of the exhibition, bridging Armenian identity across continents. Given the political realities of Soviet Armenia, it is no surprise that avant-garde expression was scarce—but here, it found sanctuary.
Among the museum’s iconic pieces are Railway Station by Hakob Hakobyan, Still Life by Harutyun Kalents, Father by Vazgen Bazhbeuk-Melikyan, and, of course, Carzou’s Red Room.
Practical Information
Address: 7 Mesrop Mashtots Avenue, Yerevan
Phone: (+374 10) 53-53-59
Opening hours: Tuesday–Sunday, from 11:00 to 18:00
Closed: Mondays
