For most visitors, a trip to a museum means soaking in the masterpieces: paintings, sculptures, ancient artifacts. Their gaze rarely lingers on the subtle details of the exhibit itself, let alone whether there’s a speck of dust. But for Bruno Goppion, the experience is profoundly different.
Bruno Goppion perceives museums through a unique lens. He seeks an immaculate presentation, noticing everything from cloudy display cases and chipped paint to exposed outlets. His focus is on whether the art effortlessly connects with the viewer or if any imperfection detracts from that essential interaction.
At 33, Mr. Goppion carries on a legacy as the third generation at Goppion, the renowned Italian company. They specialize in creating exceptional display cases and exhibits for many of the globe’s premier museums, such as the Metropolitan Museum of Art, the Louvre, and the National Gallery. His philosophy is simple: perfection in his craft means his work goes completely unnoticed by the public.
“Every time I step into an exhibition space, I’m trying to understand the narrative the institution wants to convey through its displays, the history, the very essence of what’s being shown,” Mr. Goppion explained. “I ponder what distinguishes a Tokyo art museum from one in New York, Milan, Paris, or London.”
The newly renovated Michael C. Rockefeller Wing at the Metropolitan Museum of Art showcases nearly 300 Goppion display cases. In another image, visitors at the Louvre are captivated by the Mona Lisa, whose protection has been entrusted to Goppion since 2005.
The Goppion legacy began in 1952 when Bruno’s grandfather, Nino Goppion, established a humble glassmaking workshop in Milan. While Bruno pursued formal studies in history and economic geography in Munich, his true schooling came from within the family business. From infancy, he was immersed in the world of museum design, first crawling, then toddling, and eventually walking through world-renowned institutions alongside his parents.
“They included me in absolutely everything, even as a tiny child,” Mr. Goppion recalled. (His father, Alessandro, assumed leadership of the company in the early 1990s.) “I developed a deep curiosity for understanding the specific details and unique characteristics each museum and architect desired. This experience honed my eye and sharpened my perception.”
From its modest beginnings, Goppion expanded significantly, attracting prestigious clients across the globe from Milan to Benin well into the 21st century. Their exquisite craftsmanship protects iconic treasures such as Britain’s crown jewels, Neil Armstrong’s spacesuit, and a rare 1297 issue of Magna Carta. However, the company’s global reputation truly soared when it was chosen to design a new display case specifically for the Mona Lisa.
Mr. Goppion possesses a meticulous eye for the intricate details required in crafting museum-quality display cases.
In 2005, when Bruno was just 12, his parents took him to the Louvre for the unveiling ceremony of the Mona Lisa’s new display case. While adults marveled at the masterpiece and its intricate brushstrokes, young Bruno was more interested in pantomiming soccer moves with a security guard nearby.
“That ceremony wasn’t just a celebration; it was a profound moment of responsibility,” Mr. Goppion reflected. “If I’m granted the privilege of seeing these incredible artifacts up close, then I also bear the duty to ensure their continued protection with every resource at my disposal.”
Through years of careful observation, he has developed a keen ability to quickly assess an institution’s strengths and weaknesses. “A stunning collection housed in dusty displays suggests either inadequate climate control or a lack of attention,” he noted, “and in either scenario, action is required.”
Beyond his dedication to perfect sightlines and crystal-clear display cases, Mr. Goppion also enjoys icy oysters and the company of his Australian shepherd, Spritz, who holds the title of official Goppion mascot. When his work brings him to New York, a visit to the Grand Central Oyster Bar is a frequent pleasure.
Pictured are Mr. Goppion’s father, Alessandro Goppion, who serves as the company’s president and chief executive, and his mother, Patrizia Venturini, the general manager. The Goppion firm’s official mascot, Spritz the Australian shepherd, is even listed in the business development department on their website.
In New York City, Goppion’s impressive client list spans from major institutions like the New York Public Library to specialized ones such as the New York Yacht Club. Even within The New York Times Building, artifacts like notes from the Pentagon Papers and other historical ephemera, representing 175 years of journalism, are showcased behind Goppion glass.
The company recently completed a significant project, providing 282 display cases for the ambitious 2025 redesign of the Michael C. Rockefeller Wing at the Metropolitan Museum of Art, a renovation spearheaded by WHY Architecture. Currently, Goppion is involved in another Met gallery overhaul, which will feature art from West Asian antiquity and ancient Cyprus.
Declan Kiely, the executive director of Manhattan’s 142-year-old Grolier Club, stands out as one of the few past or present clients willing to openly discuss his collaboration with Goppion. (Notably, several non-profit and state-funded institutions, including the Louvre, chose not to comment, wary of appearing to endorse a commercial enterprise.)
Having worked alongside Mr. Goppion at both the Grolier Club and during his tenure as director of exhibitions at the New York Public Library, Mr. Kiely characterizes him as “incredibly respectful of the precious items he is tasked with protecting.”
Goppion utilizes specialized equipment, such as the cooling fans shown in the center, to meticulously protect the various objects – which extend beyond traditional artworks – entrusted to their expertise.
During his time at the library, Mr. Kiely commissioned Goppion to create custom enclosures for treasures including a 1455 Gutenberg Bible (the first brought to the United States), the original Winnie-the-Pooh, and even the desk and chair famously used by Charles Dickens for many years.
“We chose Goppion because their cases are designed to be virtually invisible,” Mr. Kiely stated. “My goal was to provide visitors with the most direct, unobstructed experience possible with these precious materials. The humorous drawback is that the glass is so clear, people often bump their heads on it, leading to frequent thuds throughout the day.”
Mr. Kiely believes that Mr. Goppion’s “immense curiosity about the artifacts housed within the cases” directly contributes to the superior quality of their products. He emphasized, “Bruno is utterly dedicated to crafting display cases that are perfectly suited for the specific items being exhibited.”
This profound dedication is evident in every conversation with Mr. Goppion, where discussions consistently return to his core mission: creating a flawless and enriching connection between art, history, and the visiting public.
“The opportunity to witness these museums across the globe undergo the same intricate process, and to be a part of it, is a true privilege,” Mr. Goppion concluded. “It fuels my passion and drives me to continue innovating and building for the future.”