In the 1960s the Moroccan cultural journal Souffles (1966-71) not only reflected the literary and artistic debates of the times, it helped create them, push them forward and translate them to an intellectual readership open to interdisciplinary connections (art-literature-society-politics). With other journals in French such as Lamalif (1966-88), Intégral (1971-78), Pro-Culture (1973-77), and in Arabic such as Al Anfas (1971, a partner journal to Souffles), Afaq and Al-Thaqafa al-Jadida, Souffles provided a forum for discussions of decolonization, Morocco’s national culture and its place in the world. I will draw on Kenza Sefrioui’s study, La Revue Souffles 1966-1973, Espoirs d’une révolution culturelle au Maroc (2013). In 1972, Souffles was banned and its founder Abdellatif Laâbi was tortured and imprisoned. The following decades were a difficult period for free investigations of cultural issues even when they were not overtly linked to oppositional politics, as its co-editor Zakya Daoud makes clear in her book Les Années Lamalif (2007). This paper investigates the legacy of Souffles for a new generation of Morocco’s cultural press. News magazines such as Maroc Hebdo International (from 1991), Telquel (2001-present) and its Arabic-language sister publication Nichane (2006-2010) engage readers in reflection on topics that include literature and the arts. In an article on Morocco’s new Mohammed VI Museum of Modern and Contemporary Art inaugurated in October 2014, for example, a Telquel journalist characterizes the building’s controversial architecture as “a timid step toward the present, anchored in the past” and subtly critiques its “neo-Moorish façade” with unconvincing touches of modernity. Other articles in the cultural press are asking provocative questions about the museum’s funding (royal), partners (European), directors (little experience with contemporary art), and purpose (serving urban elites?). My paper will reference Kashia Pieprzak’s insightful monograph Imagined Museums: Art and Modernity in Postcolonial Morocco (2010). I will also be analyzing more specialized contemporary magazines such as Médina Maroc (1999-2009) which focused on cultural tourism, the short-lived Magazine littéraire du Maroc (2009-12) and DIPTYK (2009-present) whose goal is to “offer a unique perspective on contemporary Moroccan and Arab art.” To what extent are the queries of the 1960s so fervently posed in Souffles, etc., been reprised, recycled or rejected? Has Morocco been decolonized? Where are the limits of censorship? What does an educated Moroccan need to know about literature and the visual arts? (Why) is cultural development a fundamental part of the nation?