Modern MovementArchitecture is the most visible form of art, and every building has a certain type of style that resembles and tells the story of the time and place in which they were built. Several movements took place during this period. the 19th/20th century. Some of the movements were: Art Nouveau: It is characterized by an abundance of strange shapes such as arcs, curves and designs. This style was particularly important in Paris, where the artist Siegfried Bing exhibited this type of style in the "Maison de l'Art Nouveau". Art Nouveau artists took inspiration from nature, such as flowers, clouds, butterflies, sea creatures, as well as the female figure. Art Nouveau was well accepted in Mexican society because of 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 in order to restore missing values ​​in the industrialized world. “Perhaps nowhere else does art and architecture capture this vernacular and cultural landscape as perfectly as in New Mexico.” (Cummings, 2001, p. 8)Art Deco: Art Deco is a combination of many styles that already existed, but with a modern twist. One of the most famous Art Deco buildings in the world is the Chrysler Building in New York, which features 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. by Vicente Mendiola in 1926. Later, many buildings were made with this Art Deco, which still...... middle of paper ......in Great Britain. The exhibition was a compilation of Paolozzi's personal interests ranging from all kinds of photography. The principle of the show was similar to the unity assumed in a person's life. “Parallel of life and art” was autobiographical, as Paolozzi said. The exhibition depended on the parallels that could be drawn from one photograph to another. More than the images, it was this brutal aspect of the exhibition's material. The parallels established similarities where there were no connections. Banham (Unknown Year, p. 10) suggested that "they were purely arbitrary and formal in nature." This criticism was later denied by Tom Hopkinson. The images showed that all things were also parallel, connected languages. This is why it was possible to establish links between several images from the Exhibition. This was the essential meaning of brutalism.