Modern MovementArchitecture is the most visible art form and every building has a certain type of style that reminds and tells the story of the time and place in which it was built. During the 19th/20th century. Some of the movements were: Art Nouveau: It is characterized by the abundance of strange shapes such as arches, curves and designs. This style was particularly prominent in Paris, where the artist Siegfried Bing presented it in the “Maison de l'Art Nouveau”. Art Nouveau artists were inspired by nature, such as flowers, clouds, butterflies, sea creatures, and female figures. Art Nouveau was well accepted in Mexican society for its bold composition. Some examples of this style in Mexico are the “Gran Hotel de México” and the “Roma” colony. Arts and Crafts: This movement was similar to Art Nouveau, although it began in Britain in the late 19th century. In architecture, the style advocated a return to Gothic architecture to restore the values ​​missing in the industrialized world. “Perhaps nowhere else does art and architecture capture this vernacular and cultural landscape as perfectly as in the case of New Mexico.” (Cummings, 2001, p. 8)Art Deco: Art Deco is a combination of many existing styles, but with a modern twist. One of the most well-known Art Deco buildings in the world is the Chrysler Building in New York, which includes materials such as steel and aluminum. One of the first examples of this type of architecture in Mexico was the “Alianza de Ferrocarrileros Mexicanos” building from Vicente Mendiola in 1926. Afterwards, many buildings were made with this Art Deco, which still... is half the paper... in Britain. The exhibition was a collection of Paolozzi's personal interests ranging from all types of photography. The principle of the show was similar to the presupposed unity in a person's life. 'Parallel between life and art' was autobiographical as Paolozzi said. The exhibition depended on the parallels that could be drawn between one photograph and another. More than the images, it was the brutal aspect of the material on display. The parallels established similarities where there was no connection. Banham (Year unknown, p.10) He implied that “they were of a purely arbitrary and formal kind.” This review was later denied by Tom Hopkinson. The images showed that all things were also parallel, connected languages. This is why it was possible to create connections between multiple images of the exhibition. This was the essential meaning of brutalism.