'The World Goes Pop' exhibition at the Tate Modern in London presented a new, global perspective on Pop Art. Delvendahl Martin Architects developed an exhibition concept and spatial sequence that both emphasised the curatorial themes of the exhibition and at the same time provided a coherent visual language that tied together the diverse range of artworks on show. 

'The World Goes Pop' investigated how different cultures and countries responded to the movement and challenged the common perception of Pop Art as a celebration of western consumer culture. 

Working closely with the curators Jessica Morgan and Flavia Frigeri, Delvendahl Martin Architects purposefully moved away from the neutral white traditionally used as a backdrop in art galleries, the walls for this exhibition were painted in a rich palette of carefully selected colours. The chromatic sequence developed both supports the curatorial themes of the exhibition but also corresponded to the individual pieces, acting as a unifying principal for the display of a diverse range of works. The colours were wrapped around corners and down to floor level by way of specially constructed plinths that cut through the space creating a visual connection between the rooms of the gallery. The plinths thus served a multiple purpose; as an architectural device to guide visitors through the exhibition, a means to define a natural distance between the viewer and artwork, and as bold platforms on which the exuberant art works were displayed.