Stalni postav muzeja, otvoren publici 1995. godine prema zamisli tadašnjeg ravnatelja Vladimira Malekovića i prostornoj artikulaciji arhitekta Marijana Hržića, uključuje građu iz gotovo svih muzejskih zbirki, odabranu po kriterijima kvalitete i stilske reprezentativnosti.

Gotovo 3000 eksponata na oko 2000 m² izložbenog prostora, iz zbirki namještaja, keramike, stakla, metala, tekstila, slikarstva, kiparstva, satova, fotografije, grafičkog i produkt dizajna, bjelokosti, knjigoveštva te oslikane i pozlaćene kože, pružaju uvid u razvoj umjetničke i obrtničke produkcije od kasnog srednjeg vijeka do danas, povijesne mijene stilova u kojima se zrcale posebnosti hrvatskog kulturnog prostora te šira duhovna i intelektualna kretanja vremena.

U 14 dvorana, kroz dva kata Muzeja, muzejski predmeti predstavljeni su u okviru cjelina koncipiranih tako da u kronološkom slijedu ilustriraju stilska razdoblja u rasponu od gotike do Art Décoa.

Unutar stilsko-morfoloških prostornih cjelina muzejski predmeti u svojoj raznorodnosti stvaraju sliku pojedinih razdoblja i dokumentiraju visoku razinu kulture življenja na ovom prostoru. Važno je istaknuti da su vremenske granice pojedinih stilskih cjelina determinirane specifičnošću kulturno-povijesnog razvitka hrvatskih zemalja i ne podudaraju se uvijek s uvriježenom periodizacijom u lijepim umjetnostima. Isto tako razvidno je da stilske značajke predmeta iz kontinentalnih regija Hrvatske očituju oslanjanje na zemlje njemačkoga govornog područja, dok jadranski, obalni dio Hrvatske upućuje na bliskost talijanskom kulturnom krugu.

Na galerijama prvog i drugog kata izloženo je slikarstvo iz muzejskog fundusa: na prvom katu predstavljen je izbor baroknog slikarstva koji uključuje ostvarenja najznačajnijih slikarskih škola tog vremena – talijanske, francuske i nizozemske, a na galeriji drugog kata odabir iz fundusa hrvatskog slikarstva 20. stoljeća

The display, which opened to public in 1995 according to ideas of the former director Vladimir Maleković and spatial articulation of architect Marijan Hržić, includes material from almost all museum collections, and was selected according to criteria of quality and representativeness of style.

Almost 3000 exhibits displayed at about 2000 square metres of exhibition floor space from the collections of furniture, ceramics, glass, metal, fabric, painting, sculpture, clocks and watches, photography, graphic and product design, ivory, bookbinding, painted and gilt leather provide an insight into the development of artistic and craft production from the late Middle Ages until the present day. The historical changes of styles mirrror special features of the Croatian cultural space as well as wider intellectual and spiritual trends of the times.

Set in 14 rooms on first two floors of the Museum, the museum objects are presented within the framework of units conceived in such a way as to illustrate in chronological sequence stylistic periods ranging from Gothic to Art Déco.

Within the stylistic and morphological spatial units, the museum objects in all their heterogeneity create an image of the individual times and document the high level of lifestyle in this area. It is important to point out that the temporal borders of the individual stylistic units are determined by the specificity of the cultural and historical developments of the lands of the Croats, and do not always coincide precisely with periodisation usually found in the fine arts. It can also be seen that the stylistic characteristics of objects from the inland areas of Croatia clearly draw on germanophone countries, while the Adriatic or coastal area of Croatia clearly indicates its closeness to the Italian sphere of cultural influence.

The galleries on the first and second floor show painting from the museum holdings: on the first floor there is a selection of Baroque painting including works by the most important schools of painting of the time – Italian, French and Dutch, while on the second floor gallery is a selection from the holdings of Croatian 20^th century painting.

Povijesni pregled umjetničkih stilova u stalnom postavu dopunjen je samostalnim tematskim cjelinama. Cjelina posvećena sakralnoj umjetnosti uključuje sakralno slikarstvo i skulpturu, misno ruho i liturgijske predmete od metala. Kao specifičan vid sakralne umjetnosti izdvojene su devocionalije – predmeti namijenjeni aspektu kućne pobožnosti (posvetne slike, mali kućni oltari, križevi, krunice i medaljoni). Unutar dionice sakralne umjetnosti zasebnu cjelinu čini judaica, u kojoj su predstavljeni predmeti namijenjeni židovskim liturgijskim obredima u sinagogi, ali i u kući, prilikom različitih vjerskih obreda i svetkovina.

Hrvatska fotografija te grafički i produkt dizajn (od 1950-ih do 1990-ih) koji su predstavljeni kao zasebne cjeline, uvod su u dionicu zbirki u stalnom postavu, gdje se može pratiti stilski razvoj te raznolikost na najreprezentativnijim primjercima iz zbirki satova, bjelokosti, metala, tekstila, stakla, keramike i mode, a pored stilskih osobina moguće je pratiti i raznolikost tipologija, materijala i tehnika.

Tijekom posljednjeg desetljeća nove akvizicije i stručno-znanstvene spoznaje u obradi muzejskog fundusa inicirale su  izmjene i dopune izvornog postava koje slijede osnovnu koncepcijsku nit postava iz 1995. godine.

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The historical review of artistic styles in the permanent display is complemented with independent thematic units. The unit dedicated to religious art includes religious painting and sculpture, vestments and liturgical Items of metal. A particular form of religious art consists of devotionalia – items meant to be used in the practice of household devotions – votive paintings, small household altars, crosses, rosaries and medallions. Within the religious art unit, Judaica makes up a separate whole, showing items meant for Jewish liturgies in the synagogue as well as in the home during diverse religious rites and festivals.

Croatian photography and graphic and product design (1950s to 1990s) that are presented as units for themselves are an introduction to the section of collections in the permanent display, where it is possible to follow the stylistic development and diversity in the most typical specimens from the collection of clocks and watches, ivory, metal, textiles, glass, ceramics and fashion; in addition to stylistic features, the diversity of typology, material and technique can also be traced.

During the last decade, new acquisitions as well as ongoing professional and scholarly advances in the study of the museum holdings have led to slight changes and additions to the original display, which nevertheless follow the basic conceptual thread of the 1995 permanent display.