However, the Belgian Government under Prime Minister Achille Van Acker decided to forego celebrations in 1955 to have additional funding for the 1958 Expo.

During the 1958 European exposition, the molecular model hosted an observation of more than forty-one million visitors while refining an astonishment for atomism by distant global communities.

Expo organizers also included participants from the UN Trust Territories of Ruanda-Urundi (today, Rwanda and Burundi) in the Belgian Congo section, without differentiation.

Instead, nearly all of the art on display was created by Europeans in a purposefully primitive and imitative style, and the entrance of the exhibit featured a bust of King Leopold II, under whose colonial rule millions of Congolese died.

The exotic nature of the exhibit was lauded by visitors and international press, with the Belgian socialist newspaper Le Peuple praising the portrayal of Africans, saying it was "in complete agreement with historical truth."

However, in mid-July the Congolese protested the condescending treatment they were receiving from spectators and demanded to be sent home, abruptly ending the exhibit and eliciting some sympathy from European newspapers.

The exposition "One Day in Czechoslovakia" was designed by Jindřich Santar who cooperated with artists Jiří Trnka, Antonín Kybal, Stanislav Libenský and Jan Kotík.

The team's artistic freedom, so rare in the hard-line communist regime of the 1950s, was ensured by the government committee for exhibitions chairman František Kahuda.

In the entrance hall hung József Somogyi and Kerényi Jenő's dynamic statue group Dancers, which won a Grand Prix, and was later bought by the city of Namur.

The decision to participate was made in 1955, under the Stalinist party leader Mátyás Rákosi, shortly after he got rid of his reformist prime minister Imre Nagy.

[17] The US pavilion was quite spacious and included a fashion show with models walking down a large spiral staircase, an electronic computer that demonstrated a knowledge of history, and a colour television studio behind glass.

[20] The United States pavilion consisted of 4 buildings,[21] one of which hosted America the Beautiful, a 360° movie attraction in Circarama made by Walt Disney Productions.

The exhibition was seen as an opportunity to showcase the country, its delineation from the Soviet Union, independent socioeconomic system and international profile, as well as the impact of these policies on the cultural and artistic life.

When that proved too complicated, Richter devised a tension column consisting of six steel arches supported by a pre-stressed cable, which stood in front of the pavilion as a visual marker and symbolised Yugoslavia's six constituent republics.

At some point, someone was able to gain access to the manuscript, tearing off the bottom right-hand corner of the second to last page (folio 99r/45r), containing the words "Quam olim d: C:".

[27] A jury of young filmmakers (Robert Aldrich, Satyajit Ray, Alexandre Astruc, Michael Cacoyannis, Juan Bardem, Francesco Maselli and Alexander Mackendrick) were due to select a winner from the nominees but voted not to.

Instead they indicated the following as still holding value to young filmmakers: Battleship Potemkin; Grand Illusion; Mother; The Passion of Joan of Arc; The Gold Rush and Bicycle Thieves.