As, with increasing historical distance, grows the nostalgia towards better and more substantive times of the recent past, so grows substantially the tide of interest of museum institutions that shape global cultural trends with respect to the phenomena which characterized the short-lived social renaissance of the first post-World War ii decades. Directly from the epicenter from which Pop Art had set off on its winning journey across the ocean in mid−1950s, only to turn into a planetary phenomenon in the retorts of New York City and Californian artists, the Tate Modern announces an exhibition whose picturesque title, finely tuned with the theme, The World Goes Pop, whose opening is planned for autumn 2015. The exhibition will be a revision which will, by the affirmation of the autochthonism of its global varieties, restore the shine of cultural prestige and importance to the movement overcast by the inherent frivolity and commercial success of pop aesthetics. The thesis that the project, under curatorial direction of Jessica Morgan, represents is based on the insight into artistic material created around the world, which—though emerged from Pop Art zeitgeist—provides a solid foundation to shift the understanding of its global impact in relation to the, so far customary and confirmed at exhibitions, interpretation of the movement as a one-way line of an aesthetic pattern that from New York City and the United States spread to the rest of the world.