If you do not have much time, select the main artistic and architectural features today at the Museum to make the most of your visit. The arrows on the floor show the one-way itinerary you must follow. Remember to keep a safe distance from the works (1 meter) and other visitors (2 meters).


1st floor, Atrium

The Atrium, more than 50 meters high, is the beating heart of the Museum and one of the central spots of Frank Gehry’s design. It also makes a wonderful venue for cultural activities and events.

Interior del edificio, Atrio | Guggenheim Bilbao Museoa

Riverfront terrace

1st floor, riverfront terrace

The riverfront terrace, next to the Atrium, offers views that show how the Museum is seamlessly integrated into the surrounding cityscape in terms of materials (glass, titanium, limestone) and connections to the buildings and structures nearby, such as La Salve Bridge.

Moreover, the exterior of the Museum is perfect to install site-specific and permanent works from the Guggenheim Museum Bilbao Collection. Such is the case of Tulips (1995–2004), by Jeff Koons; Maman (1999, cast 2001), by Louise Bourgeois; and Red Arches/Arku gorriak (2007), by Daniel Buren.

Jeff Koons
Tulips, 1995–2004
High chromium stainless steel with transparent color coating
203 x 460 x 520 cm
Guggenheim Bilbao Museoa

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Tulipanes | Jeff Koons | Guggenheim Bilbao Museoa

The Matter of Time

Balcony, 2nd floor

Go up to the 2nd floor of the Museum and take a look from the balcony of gallery 104. You will get a panoramic view of The Matter of Time (1994–2005), a permanent installation by Richard Serra. This unique work is one of the icons of the Guggenheim Museum Bilbao Collection.

Richard Serra
The Matter of Time , 1994–2005
Weathering Steel
Dimensions variable
Guggenheim Bilbao Museoa

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La Materia del Tiempo | Richard Serra | Guggenheim Bilbao Museoa

Olafur Eliasson

2nd floor

On the second floor, you can visit the exhibition Olafur Eliasson: In real life, open until fall (dates to be confirmed). Danish-Icelandic artist Olafur Eliasson is interested in individual perception, movement, bodily awareness, and feelings. The exhibition shows about 30 works created between 1990 and 2020, including sculptures, photos, paintings, and installations. Among them are Moss Wall (1994) and Waterfall (2020), installed in the Museum exterior.

Olafur Eliasson
Your uncertain shadow (colour), 2010
HMI lamps (green, orange, blue, magenta), glass, aluminium, transformers
Thyssen-Bornemisza Art Contemporary Collection, Vienna
© 2010 Olafur Eliasson

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Lygia Clark. Painting as an Experimental Field, 1948–1958

3rd floor, galleries 305, 306, and 307

Galleries 305, 306, and 307 on the 3rd floor are holding the exhibition Lygia Clark, Painting as an Experimental Field, 1948–1958, showing the works produced by Brazilian artist Lygia Clark between 1948 and 1958, in Brazil and Paris, in chronological order. The exhibition, open until fall (dates to be confirmed), begins in gallery 305, containing works that are still figurative, and ends in gallery 307, where the works on display are purely abstract.


A self-taught artist, Clark is considered to be a pioneer of art therapy. While she was a professor at Sorbonne University in Paris, she did research into sensory, participatory experiences and shared them with her students and the general public. This proved to be essential to her development as an artist and her focus on the relationship between art and self-knowledge in connection with both the mind and the body. For more information, go to the educational space designed for this exhibition.

Lygia Clark
The Violoncellist (O Violoncelista), 1951
Oil on canvas, 105.5 x 81 cm
Private Collection
© Courtesy of “The World of Lygia Clark” Cultural Association

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