South America, Australia, South-East Asia Middle East Soviet Union Copy 5: Following a bilateral agreement between the USA and USSR, in 1959 the American National Exhibition was to be held in Moscow and the Russians were to have had the use of New York City's Coliseum. This Moscow trade fair at Sokolniki Park was the scene of Soviet Premier Nikita Khrushchev and United States Vice President Richard Nixon's 'Kitchen Debate' over the relative merits of communism and capitalism. The Family of Man was a late inclusion that had not been originally envisaged in MoMA's itinerary. With a grant to the Museum of $15,000 (less than half of what it requested) and funding from the plastics industry for the radical pre-fabricated translucent pavilion design to house it, a fifth copy of the show was salvaged from what was left of the Beirut and Scandinavia showings, augmented with new prints. In Moscow, in the context of a trade show 'supermarket' meant to demonstrate lavish consumerism, and a multimedia display assembled by Charles Eames, the collection's overtones of peace and human brotherhood symbolized a lifting of the imminent threat of an atomic war for Soviet citizens in the midst of the Cold War. This meaning seemed to be grasped especially by Russian students and intellectuals. Recognising the importance of the Moscow exhibition as "the high spot of the project," Steichen attended its opening and made copious photographs of the event. Clervaux Castle, Luxembourg The original prints from Copy 3 exhibited in the permanent collection at Clervaux Castle in Luxembourg have been restored twice, once in the 1990s and more comprehensively during a closure of the museum in the years 2010-2013.The Family of Man An innovative exhibit The physical installation and layout of the Family of Man exhibition were designed to enable the visitor to view it as if it were a photo-essay about human development and cycles of life, that affirmed a common human identity and destiny against the contemporary Cold War threats of nuclear war. Architect Paul Rudolph designed a series of temporary walls set amongst the existing structural columns, which guided visitors past the images, which he described as "telling a story", encouraging them to pause at those that attracted their attention. His layout and display features were adapted as much as possible to the international venues, which varied considerably from the original space at MoMA. Open spaces within the layout