The check-in stations are set up in the first room entitled "Thinking the World". Visitors can log in and embark upon individual interactive trips through the exhibition. Many stations allow them to actively engage with the displays, to cast votes and make decisions.

New York-based urban artists How and Nosm create the "Thinking the World" mural. Covering all four walls of BERLIN GLOBAL's first room, it greets visitors with the leitmotif of the exhibition – Berlin and its interconnections with the world.

These elements display texts in simple language as well as in Braille and provide a tactile experience not only to vision-impaired visitors. Accessible features also include audio texts, a tactile high-contrast floor guidance system and translations of selected content into twelve languages including German Sign Language (DGS).

Construction of a walk-through table of contents. Large-scale free-standing photos present the central topics of the BERLIN GLOBAL exhibition: Revolution, Free Space, Boundaries, Entertainment, War, Fashion and Interconnection. Their reverse sides show different perspectives and call clichéd associations into question.

Once a fixture in the foyer of the Palace of the Republic, the famous globe lamps have now returned. They illuminate displays in the Entertainment room devoted to the Palace of the Republic, which was not only the seat of the GDR's People's Parliament but also a site of popular cultural events featuring stars from around the world.

Free spaces change, come and go. In graphic-novel style, artist Ali Fitzgerald sketches socio-political developments in the four main sections of the "Free Space" room: faith, gender, art and subculture.

Installation showing boundaries in Berlin

In the last room visitors can analyse and reflect on what they have experienced in the exhibition. There is still more to be built and sewn here. But soon a sculptured set of seating elements in the shape of a woody vine will wind its way through the room. A metaphor for Berlin's connections with the world, it invites visitors to relax and connect with other people.

In an early stage of her work on the walls of the Revolution room, the artist Hanaa El Degham invited some Berliners from Syria, Greece and other countries to write down their experiences and thoughts on the subject of "revolution". Striking images gradually came together as a result.

From workshop to exhibition space. Carpentry experts from the Stadtmuseum Berlin build a replica of the famous kaiserpanorama for our exhibition. Developed by August Fuhrmann in the late 19th century, this form of mass media invites visitors to travel to faraway countries and times. The 3D effect of the stereoscopic images gives viewers the sense of entering a different visual world.

Graphics and text panels are mounted

Students from Berlin’s School of Fashion went out into the city and then designed apparel that reflects some of Berlin's major fashion trends. The outfits are displayed in the Fashion room against a backdrop of black-and-white photos from the past of women in typical attire in Berlin.

The "Tape That" artists create a new sculpture. The "Interconnection" room presents a number of different Berliners and their connections to other parts of the world, and the tape artists transform their stories into a room-filling work of interlinked art entitled "Interconnected Lives".

Once a fixture in the foyer of the Palace of the Republic, the famous globe lamps have now returned. They illuminate displays in the Entertainment room devoted to the Palace of the Republic, which was not only the seat of the GDR's People's Parliament but also a site of popular cultural events featuring stars from around the world.

A memorial arrives.

A memorial arrives. The invisible memorial to the blind spot in public awareness for colonialism is delivered to the museum in huge crates. Philip Kojo Metz's SORRYFORNOTHING is a critical statement about how colonial policy in the German empire has been viewed to this day.

A heavyweight enters the exhibition. The legendary door of the Tresor nightclub weighs five tonnes. Before it became the door of a club after German reunification, it secured the vault of the Wertheim department store that was expropriated by the Nazis. Today it stands for 150 years of Berlin history.

In the last room visitors can analyse and reflect on what they have experienced in the exhibition. There is still more to be built and sewn here. But soon a sculptured set of seating elements in the shape of a woody vine will wind its way through the room. A metaphor for Berlin's connections with the world, it invites visitors to relax and connect with other people.

These include everything from simple soft packaging to air-conditioned crates. Transporting items safely is a crucial part of handling art.

Most of our exhibits are subject to strict conservation and restoration guidelines. Expert craftsmanship and pure precision are required to set them up – balancing technical feasibility with the desired dramatic effects.

The "Affordable rent grave" created in 2016 by the artists' collective "Rocco and his brothers" is a memorial to the idea of rents that people can actually pay. It was installed on a street corner in Kreuzberg and removed four days later. The collective makes a faithful replica for the BERLIN GLOBAL exhibition: RIP 6.20 €/m²

This work is a joint creation by artists David Mesguich and DOT DOT DOT, and curated by Yasha Young. Mesguich's steel sculpture entitled "Overlords" has steel rods bored through it on which surveillance cameras are affixed. Screens to the left and right show DOT DOT DOT's installation entitled "Camera: No Freedom: Total Control". Visitors can view themselves on a TV screen in the hand of the head sculpture. The work is a critical commentary on privacy and art in public space.