The exhibition Contemporary Danish Design arrived in Moscow in December 1969, when Danish design was undergoing a crisis. The popularity of “Danish Modern,” the notion centered on excellent artisanship, natural materials, and a balance between tradition and modernity, was diminishing due to shifting tastes in home furnishing and consumer society critiques. This article considers the Moscow exhibition as a twin effort to include design in Danish- Soviet cultural diplomacy and to revive the cultural importance of Danish Modern in the era of waning techno-optimism and student protests.



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