Built on the western edge of the newly inaugurated Sarmiento Park, the work of Neoclassical architecture was completed in 1916, and originally included 255 m2 (2,700 ft²) and one exhibit hall, the Kronfuss Salon.

[1][2] Aside from its permanent collection, the museum maintains paintings and sculptures by other renowned local artists such as Juan Carlos Castagnino, Pablo Curatella Manes, Fernando Fader, Emilio Pettoruti, Lino Enea Spilimbergo, as well as lithographs by Pablo Picasso and paintings by Tsuguharu Foujita and Francisco Goya.

The museum also hosts temporary exhibits and includes the provincial art archive and restoration workshop, as well as a library and educational facilities.

By then, the newly elected governor, the radical Eufrazio Loza, had appointed Deodoro Roca as the new Director of the Provincial Museum.

This peculiar situation (the delay in the execution of the work and the alternation of government) is the reason why the event was not the subject of any official inauguration ceremony and, therefore, going unnoticed in the press of the time.

Over time, the building designed by Kronfuss became a kind of architectural icon for the city and, even after successive transformations, not only of the construction itself but of the surroundings, continues to be observed with awareness and curiosity.

The project planned an articulation between both institutions, based on a complementarity principle: Palacio Ferreyra would hold the permanent collection of Caraffa Museum, while Caraffa Museum would be oriented to temporary exhibitions and to continue the work related to the collection: it would still be storage place, and it would be in charge of the management of the institution (conservation, documentation, research, acquirement, etc.).

Since the architectonic interventions follow the logic of the principle of complementarity, the Caraffa Museum is provided with big spaces for technical activities that would be in charge of the development of exhibitions and the tasks related to collection, such as storage, conservation and restoration workshop and documentation archive.

The internal distribution of the buildings is made through horizontal and vertical connectors that link diverse rooms and spaces, where the visitor is free to explore, following their own schedules or fixed itineraries.

The idea was to connect every preexisting piece, allowing them to keep their individuality and original character, while at the same time, expressing the overall unity of the building complex.

Taking advantage of the existing conditions, the project has opened multiple rooms, whose shapes, sizes, heights and lighting allow the development of a wide diversity of artistic manifestations.