In 2016, after a major renovation of the building, a new exposition of the museum was created. The author of the art project of the exposition is a member of the Belarusian Union of Artists Sukhov. The exposition is located in ten rooms on a total area of 259 sq.m. The first hall is dedicated to the activities of the Brest Customs to prevent the illegal export of cultural property abroad. Here you can see the devices used by Brest customs officers in the 1970s-2000s. when searching for contraband, the first exhibit, which entered the museum from the customs in 1953 – the icon “Miracle of St.. George about the serpent. ” Unique photographs taken at the discovery of contraband, items that served as caches for it, an icon of “Vlasiy Sevastsky with Life,” sawn by a 6-piece smuggler to hide it from customs clearance are exhibited. In the next two halls there is a part of the largest and most valuable collection of Russian icons of the 16th – early 20th centuries in the collection of the museum. It is for several decades that the icons accounted for the overwhelming majority of artifacts smuggling abroad. Unique exhibits are the ancient Russian icons of the 16th – 17th centuries, which constitute the first section of the icon painting exposition. The icon “Savior in power” represents Jesus Christ on the throne, surrounded by the forces of heaven – the angels. “Our Lady of Vladimir” is one of the most poetic images of Old Russian icon painting, the embodiment of selfless motherly love and compassion. The icon of the 17th century is an embodiment of the main dogma of Christianity about the consistency and inseparability of the Holy Trinity. “The Trinity of the Old Testament” and “The Trinity of the New Testament” (Fatherland.) The next section is devoted to the Russian iconography of the New Time. He demonstrates a wide variety of iconographic subjects and stylistic trends in Russian icon painting of the 18th and early 20th centuries. Icons of the XVIII century. differ baroque character, splendor and decorative, sometimes some theatricalization of images. Such is the icon “Saint Nicholas”, in which the most revered saint is portrayed in the guise of a Russian priest: a pompous, rosy, richly garbed.