As a new thematic unit at our permanent exhibition, we present white marble statues that exemplify types of nude representation, made during the period from the turn of the last century to the 1920s.

The exhibition is introduced by the post-1945 changes, works of art created in the spirit of progressiveness but at the same time linked to pre-war antecedents and testifying to a synthesis of styles that existed side by side and influenced each other (Expressionism, Constructivism, Surrealism, etc.). Visitors can see works from the 1950s: genre paintings, depictions of work and workers, and portraits in accordance with the dictatorship's arts policy of the day, these are stylistically homogeneous and follow the themes laid down at this time. In the next rooms there are works by a new generation.

Non-figurative trends existing in parallel appear as adaptations of Abstract Expressionism as well as of (Neo-)Geometrical, Structuralist and Organic endeavours. Figurative tendencies, versions of Pop Art and Hyperrealism, also significant at the time, are on view in the last section. On the corridor opening from the last row of rooms radical Avant-Garde works can be found primarily built on the use of photography, consisting largely of action documentations, and objects.

Late medieval wooden sculptures and panel paintings are to be found in two different exhibition spaces. While most of the winged altarpieces that are fully intact are displayed on the first floor, on the ground floor, single-piece works of art, including components of one-time winged altarpieces that now qualify as such, are in the majority. It is here that visitors can see the earliest pieces in the collection: works that date from the 14th century.

The ground-floor exhibition of wooden sculptures and panel paintings from the Late Middle Ages continues on the first floor, in the former throne room of the palace, and in two connecting rooms. Here a total of fifteen mostly complete winged altarpieces are on display, along with numerous altarpiece fragments. The majority of the works of art on show here are from the early 16th century. In terms of the number of complete altarpieces and their artistic quality, this assemblage is one of the most important of its kind in Europe.

The collection contains fragments of sculptures, carved architectural elements of artistic value, and fragments of tombstones from the period stretching from the 11th to the 16th century.

The 20th century permanent exhibition dealing with the most important artists and aspirations until the end of the Second World War is located on the recently renovated second-floor of the museum. The time period we concentrate on is 1896 to 1945, with 150 paintings, 30 statues and 200 coins.

Late Renaissance and Baroque Art: The permanent exhibition of Late Renaissance and Baroque art (1550-1800) surveys the art of 250 years, beginning with Mannerist works made in Vienna and Prague in the years around 1600. The 17th century is represented by Hungarian ecclesiastical treasures, wooden epitaphs and tomb sculptures, as well as by depictions of Árpád-dynasty saints in Hungarian attire. Next, the show evokes the culture of aristocratic residences in the Baroque age by means of a painted travelling tapestry once belonging to Ferenc Rákóczi II, prince of Transylvania.

Early 18th-century art is represented by works of Bohemian, Silesian and German masters, and by those of their Hungarian counterparts who achieved fame abroad. Besides monumental works, altarpieces and fresco sketches help recall the one-time completeness of Baroque ecclesiastical art. Most of these works present scenes from the legends of Hungarian royal saints.

This part of the permanent exhibition of twentieth-century art presents the most decisive artists and endeavours from the period between the turn of the century and the end of World War II. In the section concentrating on art between 1896 and 1945, about 150 paintings, 30 sculptures and 200 medals are on display.