After 30 years and more than 500 curated exhibitions, Pablo Jiménez Burillo leaves the direction of the Mapfre Cultural Foundation. Behind him is a long road, which began in 1988, and in which there have been some unquestionable milestones, as he recalled yesterday during his farewell. He was the first to open a room with stable programming devoted to photography, to vindicate nineteenth-century Spanish painting, which slept in an undeserved contempt or in a prejudiced undervaluation, brought to Madrid the best Impressionist and Expressionist masters, thanks to its agreements with the museums of Paris and, under its aegis, an exhibition room was opened in Barcelona that has become at the moment one of the unavoidable cultural references of the Ciudad Condal. But, also, it is the hand that has been to sign an agreement for Madrid to enjoy a Espacio Miró, which houses the Madrid headquarters of this institution. In fact, yesterday, he wanted to take the opportunity to give a final news and said that the Mapfre Foundation and the Queen Sofia have reached an agreement to get a joint ticket so that visitors who come to the museum can also visit the artist's work Catalan that they keep. A collaboration that aims to provide the public with access to this creator and that would form a walk from the museum, going through the foundation and ending at the Palacio de Congresos where the painter made an immense mural on the facade. "We bet from the beginning on a way to show the art in an open way and I think, honestly, we have changed the taste of the people." Pablo Jiménez Burillo has helped to better define the figure of Nonell, to vindicate the figures of Romero de Torres or Joaquín Sorolla, creators who now dedicate exhibitions outside of Spain, and even has dared to lean out to those authors who have remained relegated, as are the academicians, "the bad guys in the history of art," as he pointed out yesterday. "The important thing is that today we have a precise place, that we continue to have freedom and that we can be more impertinent and approach proposals that are not so evident." When he arrived, he had a budget that ranged from one million to two million euros and during these years have reached 15, although now, just after a severe crisis that has affected all levels of culture, the ten . An undoubted improvement. "During this time there has never been any kind of interference and the team has been allowed to work in a professional manner," he said during his farewell, although I will still be in charge throughout the month of December. "What nobody wanted to do is what we want to do. If a museum makes a class of proposals, it does not make any sense for us to take that path, "he said yesterday. And, in fact, his successor, Nadia Arroyo, who has collected the witness that he leaves, will continue with this same philosophy in the future, as he proves, for now, the following exhibitions that will be inaugurated, such as the one devoted to American photographer Anthony Hernandez, "From Chagall to Malévich: art in revolution" or the one dedicated to Richard Learoyd.