The Salone del Mobile.Milano brought its vision, a mix of architecture, design and industry, to the heart of New York, turning a discussion on design into a concrete opportunity for dialogue with one of Made in Italy’s most strategic markets, while the city looks to the future of its cultural spaces.

The sixth stop of the 2026–2027 World Tour, held at the New Museum and organized with the support of the Italian Trade Agency (ITA) and Italy’s Ministry of Foreign Affairs and International Cooperation, brought together leading figures from the international design scene to discuss the role of furniture, materials and light in the transformation of cultural venues. The evening also offered a preview of two key elements of the fair’s 65th edition, scheduled for April 13–18, 2027: the development of Salone Contract and the return of Euroluce.

The United States is the leading non-EU market for the Italian Furniture Macrosystem and its second-largest export destination worldwide, after France. In 2025 it accounted for €1.62 billion, or 11.4 percent of the sector’s exports; in the first seven months of 2026 the figure stood at €888.3 million, according to the FederlegnoArredo Research Centre, based on Eurostat data. Those numbers drove the Salone’s decision to strengthen ties with the American professional community and with the key players who shape projects, investments and supplies.

“The United States is a priority for the Salone and for our companies. The study carried out with PwC Italy estimates a potential contract market worth between 31 and 39 billion euros. In New York, the Department of Cultural Affairs’ preliminary investment plan allocates approximately 1.23 billion dollars for the financial years 2026–2030, earmarked for cultural infrastructure. These figures highlight the importance of maintaining a continuous presence and a direct relationship with those who develop projects and shape their direction,” said Maria Porro, President of Salone del Mobile.Milano, in her message. “Our strategy is to match companies’ capabilities with this demand. With Salone Contract, the aim is to create new opportunities for engaging with architects, developers and clients, showcasing the expertise and services that complement the product. The return of Euroluce will strengthen the dialogue with the lighting design community around the contribution of light to the quality of environments.”

According to Porro, “the discussion at the New Museum brought these themes together in relation to the design of cultural spaces. The support of the ICE/ITA Agency is essential for ensuring continuity in our work on the markets and for engaging new stakeholders in the upcoming edition, transforming the relationships built throughout the year into concrete opportunities for businesses.”

The panel, “Culture as Experience. Designing the Contemporary Cultural Space,” focused on the evolution not only of museums but of spaces increasingly open to the city, capable of integrating culture, relationships and new forms of experience. Moderated by Beatrice Galilee, Founder and Director of The World Around, it featured Lawrence Siu, project architect at OMA New York; Paula Martinez-Nobles, chair of Fisher Marantz Stone; Luca Palermo, CEO and General Manager of Federlegno Arredo Eventi; and Annalisa Rosso, Editorial and Cultural Director and Advisor at Salone del Mobile.Milano.“

The Italian furniture and design industry represents one of the most widely recognized and highly regarded expressions of Italy’s manufacturing excellence, and the ability to interpret and shape international trends. Within this landscape, the US market plays a strategic role. The collaboration between ITA and Salone del Mobile.Milano is rooted in this very vision, with the aim of strengthening the presence of Made in Italy in the United States,” said Marco Verna, director of the Italian Trade Agency (ITA) in Miami.

In his own remarks, Palermo turned to what the city’s spending on cultural infrastructure means for Italian companies. “Investments in cultural venues present a significant opportunity for our businesses,” he said. “In order to capitalize on this, we need to understand how each institution translates its cultural program into spatial requirements and, consequently, into design and procurement decisions.”