The Royal Palace is now a cultural centre in the heart of Milan, coordinated in conjunction with three other exhibition venues: Rotonda della Besana, Palace of Reason and Palazzo dell'Arengario. The building plays an important role within Milanese artistic life, having hosted in recent years prestigious exhibitions including works by Claude Monet, Pablo Picasso and other internationally renowned painters and sculptors. Turn-point for its prestige as exhibition hall was the 2009 show to celebrate Futurism's centenary. Since November 4, 2013 a wing of the palace was repurposed to host the Great Museum of the Duomo of Milan. At the beginning of the 21st century, more than fifty years after its destruction, Palazzo Reale found a new central role in the social and cultural life of Milan. Three phases of restoration were completed, even if the palace did not fully recover its original magnificence. The original purpose of the restorations was to create a "Palace Museum" to show the four historical seasons the Palazzo went through: the Neoclassical era, Napoleon's period, the Restoration and the Unification of Italy. The first phase of restoration undertook the complex task of refurbishing of the original furniture, to provide a stylistic representation of the life of the Ducal Court. Then the neoclassical halls were restored, to bring back the vision of Giuseppe Piermarini and the splendor of the "enlightened" era, when the city had a major role in Europe. The third phase focused on the old Apartment of Reserve, to portray the life of 19th century Austrian royalty. Unfortunately the original idea was abandoned and the Museum of the Palace was never inaugurated, despite the completion of its third phase of restoration in 2008. Starting in year 2000, the Italian government has commissioned a fuller restoration of the royal palace. The Hall of Caryatids was not redecorated to bring back its former splendor but only conservatively preserved, by removing the blackening on the walls, reinforcing the structural units and cleaning the remaining paintings. Sketches of the old ceiling were drawn on the cover of the new white ceiling, to give an impression of what the room looked like in the past.