This paper presents an overview of Werner Haftmann’s curatorial activity as the director of the Neue Nationalgalerie in Berlin from 1967 until 1974. Before being appointed the director of the Neue Nationalgalerie in 1967, Haftmann curated the first three Documenta exhibitions in Kassel (1955, 1959 and 1964). Since 1946, Haftmann’s books and articles on German and international modern art were considered to have a pioneering role in rediscovering the work of many avant-garde artists who were banned by the National Socialist regime. By analysing Haftmann’s curatorial concept at one of West Germany’s most important national museums during the Cold War, this paper discusses some ideological and political aspects of his work. The research was undertaken in several public archives in Germany and abroad, in order to outline Haftmann’s art historical and cultural horizon as the director of the Neue Nationalgalerie. The museum’s architecture, built by Ludwig Mies van der Rohe from 1965 until 1968, had a considerable impact on Haftmann’s purchase policy as well as on the organization of temporary exhibitions. Moreover, the hanging walls designed by the architect for the museum’s ground floor hall challenged Haftmann’s curatorial work and suggested a new way of perceiving the artworks on display. Haftmann, at the same time satisfied of his accomplishments and frustrated by the difficulties related to the museum director’s job, resigned from his post in 1974 for health reasons and turned to the historical research and publication of books. The appointment of Dieter Honisch as his successor marked a clear change for the museum, both in terms of acquisitions and temporary exhibitions.