According to the International Coalition of Sites of Conscience, there are currently more than 180 museums of memory in the world. Each and every one of these was built and inaugurated after the local conflict had ended and only when their communities had begun to live with the pacified present. Today, their greatest challenge is to communicate to their audiences, through their collection of objects of memory, the extreme situations of violence that past generations experienced and so that future generations will not have the opportunity to repeat them. A new museum will be part of this list, however, its design is subject to the problem of timelessness that has prevented it from making its inauguration official and opening its doors to Colombians. This is the case of the National Museum of Memory, which is currently facing its greatest challenge: to understand how, in the midst of the armed conflict, it will communicate the country's historical memory through the selection, collection and preservation of memorabilia. Understanding the consequences of making a museum of memory in times of conflict are the reflections to be addressed in this text. Neither the international references nor the lack of this temporal distance, even if it is minimal, between the violent past and the pacified present help this museum design to overcome its stagnation by understanding how to communicate, through these objects, a post-traumatic democratic order in which cultural rights are guaranteed for the entire population.