In the aforementioned period, the gallery hosted exhibitions of artists that would soon become the undisputed greats of Croatian art, including Emanuel Vidović, Angjeo Uvodić, Ivan Meštrović, Antun Motika, Branislav Dešković, the Earth Group and many others.

It remains prominent and prestigious within the Croatian art scene and has since become one of Croatia's most popular and acclaimed cultural destinations, hosting over fifteen exhibitions a year and numerous other related happenings, including the Splitgraphic Biennial and the Radoslav Putar Awards.

[4] Even though the town's interwar population, barely exceeding 35,000 people, was mostly illiterate, the gallery's exhibitions fared commercially well, as the townsfolk were financially supportive for their fellow artist citizens.

It underwent a more challenging reconstruction in December 1963, as its entire foundation was bolstered with reinforced concrete and other modern materials, in a feat overseen by the Urbanist Bureau employee Berislav Kalogjera, whose simultaneous project, the Bastion Hotel on the north side of Marmont Street, bares a noticeable morphological resemblance to the 1963 redesign of Salon Galić.

During its tenure, HULU hosted over a thousand exhibitions by prominent contemporary artists from Croatia, Norway, Sweden, Kosovo, Italy, Israel, Spain, Germany, Japan, Vietnam and numerous other countries, and other art-related happenings, including the annual Radoslav Putar Awards.

From 1924 to 1942, Salon Galić hosted 120 exhibitions of the most prominent and lauded Croatian artists, including Emanuel Vidović, Angjeo Uvodić, Ivan Mirković, Tomislav Krizman, Marino Tartaglia, Ignjat Job, Juraj Plančić, Jerolim Miše, Vjekoslav Parać, Antun Zuppa, Branislav Dešković, Vladimir Becić, Ljubo Babić, Zlatko Šulentić, Vladimir Varlaj, Jozo Kljaković, Ivan Meštrović, Antun Motika and many others.

Among the contemporary and future greats, the ambitious contributions from the groundbreaking Earth Group, namely Krsto and Željko Hegedušić, Antun Augustinčić, Petar Smajić, Frano Kršinić and Ivan Generalić are also worth mentioning.

One of the most progressive artist collectives in interwar Yugoslavia, the Belgrade-based Oblik group held an influential exhibition in May 1930, inspired by the contemporary French scene opposed to the dominant one of Germany, where the works of Nikola Bešević, Jovan Bijelić, Petar Dobrović, Anton Hutter, Đorđe Andrejević Kun, Veljko Stanojević, Zora Petrović and Ivan Radović were bought by then-mayor dr. Ivo Tartaglia.

Salon Galić also featured a prolific range of caricature-based exhibitions, the most popular being the satirical creations that shared the poetical principles of the artists behind the pre-war magazine Duje Balavac.

Beside the 1924 and 1926 Angjeo Uvodić exhibitions, caricaturists that took their works to Salon Galić included Ivan Mirković in 1928, Ladislav Kondor in 1939, Uroš Marović in the two pre-WW2 years [10] and Milan Tolić in 1961.

[12] Inspired by Split's old urban core, Austrian painter and graphic designer Wilhelm Saure created a piece that was planned to express sentiments of an old, historical and raw town, exhibited in 1926.