Indeed, Broodthaers' Musée d'Art Moderne, his "first fictional museum," allowed him to simultaneously posture as artist, director, curator and trustee in a self-reflexive examination of the order and prescriptions implicit in the production of museum exhibits. In 2019, The New York Times cited Musée d'Art Moderne, Départment des Aigles as one of the 25 works of art that defined the contemporary age. From late 1969, Broodthaers lived mainly in Düsseldorf, Berlin, and finally London. He died of a liver disease in Cologne, Germany on his 52nd birthday. He is buried at Ixelles Cemetery in Brussels under a tombstone of his own design which was realized by Karel Van Roy, sculptor in Beernem, Belgium. Exhibitions In 1980, the exhibition "Marcel Broodthaers" was mounted by the Tate Gallery, London. Other important retrospectives of Broodthaers' work have been held at the Walker Art Center (1989), Museum of Contemporary Art, Los Angeles (1989); Carnegie Museum of Art, Pittsburgh (1989); Jeu de Paume, Paris (1991); and Palais des Beaux Arts, Brussels (2000), The Fridericianum, Kassel, Germany (2015), and Muhka, Antwerp (2019). The most recent traveling survey was organized by the Museum of Modern Art, New York and the Museo Nacional Centro de Arte Reina Sofía, Madrid in 2016, which travelled to the Kunstsammlung Nordrhein-Westfalen, Düsseldorf in 2017. An important solo exhibition of the film work, "Marcel Broodthaers: Cinéma", was shown at Fundacio Antoni Tàpies, Barcelona; Centro Galego de Arte Contemporánea, Santiago de Compostela, and Kunsthalle Düsseldorf in (1997). There have been many notable international group exhibitions, including documenta 5, 7 and 10, Kassel (1972, 1982, and 1997). Publishing As a poet and political activist, Broodthaers had a life-long interest in the circulatory power of printed matter: posters, graphics, editions, and artist books. In addition to the prospect of commercial galleries selling limited editions, the artist's books Broodthaers published with institutions like Kunstalle Düsseldorf, the Deutsche Academischer Austaudienst (DAAD), Berlin, the Museum of Modern Art, Oxford, and the Centre Georges Pompidou, Paris, merged his profit ambitions with his nonprofit conceptual and philosophical ideas. For example, Broodthaers' catalogue for Der Adler von Oligizän bis heute, the seminal culmination of his Musee d'Art Moderne, department des Aigles, at Kunstalle Düsseldorf in 1972, was published in two volumes. Volume I featured a scholarly index of the items on display and was for sale at the opening of the exhibition, replete with a coupon that could be redeemed later for