Following are a critic's dozen of exhibition highlights:

Miro's painting "The Farm" of 1921-22, the subject matter drawn from his family's property in the Catalan countryside. It's a myth, exhibition organizer William Robinson says, that Miro went to Paris and never looked back. "Everything I ever did, I started in Montroig," he quotes the artist as having said.

Picasso's cubist "Bull Skull, Fruit, Pitcher," painted Jan. 29, 1939, three days after Barcelona's fall. A Spanish symbol is substituted for the traditional memento mori human skull.

Dali's 1923 rendering of the Catalonian coastal town "Cadaques," painted during the period of influence of the Noucentisme movement, an aesthetic response to Modernisme that favored clean design and classical themes.

Preparatory drawings and models for the "La Sagrada Familia (Expiatory Temple of the Holy Family)," begun earlier and taken on by visionary architect Gaudi in 1883, with a projected completion date of 2035. This extraordinary, organic structure is not a church in the usual sense, but rather a penitential offering built to "expiate the sins, both public and private, of a modernist, materialist age."

Model for the "Pavilion of the Spanish Republic for the Paris International Exposition of 1937." Designed by Josep Lluis Sert and Luis Lacasa, the building was a plea by the embattled Republic for help in its struggle against Franco's forces. Artists rallied and created artwork for the building (including Picasso's "Guernica"), but the support was never realized and the Republic fell in 1939.

Ramon Casas' "The Garroting," of 1894, which Robinson says is perhaps the artist's finest painting. It depicts the public execution -- a practice reinstated after a 17-year hiatus -- of a man convicted of murder with special attention paid to the reactions of the gathered crowd.

Ramon Casas' 1889 full-length portrait of artist "Santiago Rusinol" with suitcase, about to make his first trip to Paris. On the wall, a landscape painting is pinned over a copy of a detail of Velazquez's revered 1656 "Las Meninas," perhaps an assertion of the new art overtaking the traditional.

The "Model for the German Pavilion of the Barcelona International Exhibition of 1929" by architect Ludwig Mies van der Rohe, a canonical 20th-century building that was dismantled after the fair but reconstructed in 1986.

"Hanging Lamp From the Church of the Sagrat Cor in Vistabella," created in 1918-23 by architect Josep Maria Jujol, a Gaudi disciple. He was ahead of his time in his recycling of such found objects as wooden lath, wire and cans.

Josep Llimona's 1907 marble sculpture "Grief" and Julio Gonzalez's bronze "Raised Left Hand, No. 2" (part of an uncompleted figure), circa 1942, both have emotional immediacy rendered in the style of their respective time periods.

Isidre Nonell's "Cretin of Boi," an 1896-97 work on paper of a distorted woman sitting on a street holding her baby, completed after the artist, known for his depictions of the dispossessed, visited the isolated Pyrenees town Caldes de Boi. The spareness of the composition suggests the influence of Japanese prints.

"Let's Crush Fascism," a 1936 poster of a foot wearing the handmade shoe of a Catalan police officer stomping a fractured swastika, by photographer Pere Catala-Pic.