Vladimir Kulić, an architectural historian, university lecturer, and one of the curators of the MoMA exhibition, tells me that this recent interest is a byproduct of numerous factors: the faddishness of the spomeniks, for one, as well as a social media-driven Brutalist revival that has afforded modernist buildings mislabeled as belonging to that school a new lease of life. But the motivation for the MoMA show came from a desire to broaden the scope of their exhibitions by shining a light on the architecture of countries not usually at the centre of attention; in 2015, the museum staged a similar exhibition on Latin American architecture.

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