The Morse family, owners of the Dalí Museum collection in Saint Petersburg, who have a policy of never lending a painting, placed their trust in the restoration service of the Fundació Dalí in Figueres. As a result, they sent two historic paintings by the Master, with bread as the central theme, which led the Fundació, to which I belong as a patron, to propose this exceptional exhibition. Indeed, by adding to the two mentioned paintings the three we own with the same theme, we were able to exhibit, for the first and almost certainly unique time, all the paintings by Salvador Dalí that had bread as their central motif. We also included the sculpture Busto de mujer retrospectivo due to its clear relationship with the theme.

The appeal of the layout of this small but precious exhibition sparked an exciting, endearing, and fun collaboration with my friend and great inventor Dani Freixes. When considering the location, we clearly realized, in agreement with the Museum's director, Antoni Pitxot, the difficulty of emptying a room – all of which were absolutely full – without sacrificing the permanent collection's visit. Moreover, this solution hardly guaranteed the extreme conditions of temperature and humidity required, especially for two works painted on wood, and the exhibition would have been diluted within the typically baroque Dalinian setting of the Museum.

We then had the idea of erecting a tempietto (which our president Ramón Boixadós insisted on calling a "chiringuito") at the centre of the scene. With this solution, we did not alter the museum’s visiting path, we achieved a clear and striking image for our exhibition, and we made noble use of a space that was normally underused. To achieve this, we had to create a microclimate because, under the geodesic dome, very few works could be placed with full guarantees during the summer. We limited the natural light, which came only from the small triangular oculus at the top of the pyramid, relied on artificial lighting, and controlled the temperature and humidity using an ingenious air conditioning system that first circulated through the glass cabinets housing the paintings and then conditioned the visitor space. The paintings, all of them small, were placed in individual showcases, slightly low and tilted to receive the overhead lighting, which was positioned behind the glass to avoid any reflections. The whole setup was completed with a frieze of wheat ears, which are frequently present in Dalinian works. A plank served as a railing, separating the viewers from the painting, while allowing the true art lover to sit and observe it at their leisure without obstructing other visitors (I have always dreamed of being wheeled through museums in a wheelchair by a nurse).