Solomon R. Guggenheim Museum, ca. 1978.

The history of the Guggenheim Museum begins more than 20 years before Frank Lloyd Wright's iconic museum building opened. The Solomon R. Guggenheim Foundation was established in 1937 and had its first New York venue, called the Museum of Non-Objective Painting, open two years later in a space on East 54th Street that had previously been an automobile showroom. By the early 1940s, the museum's founder and director believed that the collection required a permanent home. Famed American architect Frank Lloyd Wright was hired for the commission in 1943. The Non-Objective Museum moved into a townhouse at 1071 Fifth Avenue in 1947 and was renamed for its founder in 1952.

The new museum building would take more than 16 years, 700 sketches, and six sets of working drawings to complete. Wright's creation was, by his own words, an "inverted ziggurat" with an interior continuous spiral ramp. Though he preferred that audiences might take a glass elevator to the top and view the art as they descended, negotiations over costs and safety-code stipulations prolonged the design and construction process and forced Wright to compromise on his original intentions. Today the art is generally viewed as visitors ascend the ramp.

The exterior of the building also suffered, in Wright's opinion, from compromise. He wished for a stone exterior, but it was rendered in the more cost-effective concrete. He wanted the building to be red, it was completed with a white facade. His planned skylight was not included in the original construction, though it was opened up, as Wright intended, during the 1992 renovations.

The museum opened in October of 1959, six months after Wright's death and was met with contradictory reviews. Critic Ada Louise Huxtable sang the building praises, describing the visitor's experience: "As he enters the building, he experiences what Wright promised him — a luminous, soaring, unified space, the circling ramp leading his eye to the delicately detailed, handsome skylit dome ninety-five feet above the terrazzo floor on which he stands. Concrete ribs descending from the dome divide the circular wall into bays; two pylons containing utilities and exits interrupt the smooth spiral rhythm with punctuating sculpturesque shapes. The warm ivory color of the court and the ramp frame the sharp white inner wall on which the paintings "hang," for actually they do not "hang" at all. Nor do they rest casually, at a romantic easel-angel specified by Wright."

In the 60 plus years since the museum opened, the Guggenheim had become one of the most recognizable museum buildings in the world and an icon of modernist architecture.