Lisbon keeps its art in unlikely containers: one collector's modernist pavilion in a private park, a convent lined with five centuries of tile, a 1908 power station turned gallery. Three days of museums, opera and studios, mapped hill by hill.
One collector's lifetime of buying: Egyptian alabaster, Islamic tiles, a Rembrandt, and a room of Lalique jewellery, housed in a 1969 modernist pavilion by Ruy Athouguia. Galleries 10:00–18:00, closed Tuesday; the park opens earlier.
The 1905 art-nouveau studio-house built for painter José Malhoa, later filled by an ophthalmologist with Chinese porcelain, 19th-century Portuguese painting and Boulle furniture. Ten minutes on foot from the Gulbenkian.
Amanda Levete's ceramic-tiled wave on the Belém waterfront, paired with the 1908 Central Tejo power station: boiler rooms, coal hoppers and the turbine hall left in place beneath contemporary art commissions. Open 11:00–19:00, closed Tuesday.
The former Berardo collection inside Vittorio Gregotti's pink-limestone Centro Cultural de Belém: Picasso, Warhol, Paula Rego, Portuguese conceptualism of the 1970s, and long concrete ramps that frame the river between galleries.
Portugal's national gallery, in a 17th-century palace above the docks: Bosch's Temptation of St Anthony, Nuno Gonçalves' St Vincent Panels, and Namban screens painted when Japan first drew Portuguese sailors. 10:00–18:00, closed Monday.
Trading since 1732 and certified as the world's oldest operating bookshop, its barrel-vaulted rooms run back one behind the other from Rua Garrett, ending in a room devoted to Fernando Pessoa in a dozen translations.
Five centuries of tin-glazed tile inside the Madre de Deus convent: Hispano-Moresque panels, blue-and-white baroque, and a 23-metre panorama of Lisbon painted before the 1755 earthquake flattened it. 10:00–18:00, closed Monday.
Lisbon's opera house opened in 1793, modelled on Naples' San Carlo, its horseshoe of gilded boxes intact under a royal canopy. Season runs September to July with the Orquestra Sinfónica Portuguesa in the pit.
The 'thieves' market' has spread across Campo de Santa Clara for centuries, Tuesdays and Saturdays only: loose azulejo fragments, warped fado records, colonial-era postcards, brass door furniture and a great deal of honest junk.
A crumbling 19th-century apartment reopened as gallery, tea room and concert space: mismatched armchairs, a tiled courtyard, exhibitions by young Lisbon artists and free gigs on the smaller nights of the week.
The national collection from 1850 onward, in a former biscuit factory reworked by Jean-Michel Wilmotte: Amadeo de Souza-Cardoso, Almada Negreiros, Rodin bronzes and rotating shows in the sunken sculpture court. Closed Monday.
An 1846 thread-and-fabric complex under the 25 de Abril bridge, now print studios, tattoo shops, galleries and Ler Devagar — a bookshop in the old printing hall with the presses still bolted to the floor beneath the shelves.