The Museum for Contemporary Art in Lima combines two completely opposite museum typologies. The typology of the XIXth century museum which consists of a succession of rectangular rooms (the classical exhibition space) and the museum space of the XXth century: the white open space of the loft or gallery (the free floor plan with columns). On one side the space is developed as a series of columns on a free floor plan and towards the other side the exhibition hall converts into a group of square rooms divided by corridors. Hence the museum space creates an ambiguous relation between the contained exhibition rooms and the open space that flows in between the volumes.
The museum is conceived as a labyrinth space lit by patios and roof lights. From the outside the museum can only be perceived as a series of excavations or triangular surfaces breaking the existing topography: an abstract composition in the Peruvian landscape. Architecture critic Kersten Geers wrote: PRODUCTORA realised that the only possible way to answer to the contemporary status quo on museum architecture was to make the architecture of their museum disappear. The architecture of the LiMac museum is not there. It is not visible; you can only be in the architecture. The museum is again presented as a spatial organization