In the early 1970s three museums were built in Croatia – three anthological works of late modernism. While Neven Šegvić’s Museum of National Revolution in Rijeka (1972–76) unfolds its full energy on the inside, and remains relatively autonomous in regard to the urban presence of the Governor’s Palace, the museums of Mladen Kauzlarić in Zadar (1964–72) and Split (1954–76) develop specific identities thanks to articulation of their relationship with the environment.