The team of the representative for the museum included Piotr Majewski, historian from the Warsaw University, Rafał Wnuk and Janusz Marszalec, who was the head of the Public Education Department Office of the Institute of National Remembrance in Gdańsk from 2000 to 2007.

[8] This board had world renowned scholars of WWII and totalitarianism, including: Norman Davies, Timothy Snyder, Tomasz Szarota and Włodzimierz Borodziej.

[10] At the same time, he defined the scope of tasks of the facility stating: “the object of the museum’s operations is to amass a collection pertaining to the history of World War II, safeguard it, and make it available, in particular by means of exhibition, popularisation, education, and publishing”.

[3][8][14][15] At the end of 2016, the Voivodeship Administrative Court in Gdańsk questioned the decision of the minister of culture about combining the two and ordered works to that effect to be halted until the case is examined.

[18] On 5 April, the Supreme Voivodeship Court finally overruled the motion to suspend execution of the regulation of the Minister of Culture and National Heritage.

[19] In September 2019, a statue of Witold Pilecki was erected in front of the museum, showing the cavalry captain in his uniform and a camp cap in hand.

The seat of the museum faces the Motława River and is located on Wałowa Street in close proximity to the Radunia Canal and the historical Polish Post Office Building.

The most distinctive part of the building is the 40-metre tall leaning tower with a glass façade, which houses a library, reading and conference rooms as well as cafés and restaurants with a view of the panorama of Gdańsk.

[24][25] On 7 February 2018, the Minister of Culture and National Heritage and Deputy Prime Minister Piotr Gliński appointed new members of the museum's management board, which include: Sławomir Cenckiewicz, Marek Jan Chodakiewicz, Mirosław Golon, Bogdan Musiał, Andrzej Nowak, Zbigniew Wawer, Tadeusz Wolsza and Jan Żaryn.

[1] A few days after the controversy began, the museum declared that, in light of an "authentic social need", work would begin on representing Kolbe and the Ulma family in its permanent exhibitions once more, albeit in a way that did not repeat the "inaccuracies and errors" of their earlier representation.