In 2012, the Documentation Centre’s non-profit organisation status was terminated after municipal funds were cancelled. From 2013 to 2015, it again operated as a department of the Eisenhüttenstadt City Museum. Since 2016, the Documentation Centre has been funded by the District of Oder-Spree and the State of Brandenburg.

In 2001, the museum opened its first permanent exhibition, “Life in the GDR”. It was followed in 2012 by a new permanent exhibition, “Everyday life: GDR”. It was enabled by funds from the Minister of State for Culture and the Media, and the Ministry of Science, Research and Culture of the State of Brandenburg.

In 1999, the Documentation Centre of Everyday Culture of the GDR became a non-profit organisation, largely funded by the City of Eisenhüttenstadt, the District of Oder-Spree and the State of Brandenburg.

In 1996, the Eisenhüttenstadt city council made a fundamental decision to develop the Documentation Centre further. The same year, funding from the European Union and the State of Brandenburg was approved to renovate the museum building in accordance with preservation regulations. The work was implemented in 1998/99.

In 1994, the Documentation Centre found a location in a historical crèche in Housing Complex II. In November 1995, it presented its first special exhibition there “Tempolinsen und P 2”, which continued as a touring exhibition. It attracted great interest and established the Documentation Centre’s reputation among the general public and experts alike as a specialist museum of everyday GDR culture.

In 1992, the idea was conceived of establishing a museum of everyday GDR culture in the planned city of Eisenhüttenstadt, which was founded in 1950/51. Following a decision by the city council, work to establish the facility began in 1993, initially as a department of the Eisenhüttenstadt City Museum. The same year, the historian Andreas Ludwig was appointed Director of Eisenhüttenstadt’s city museums and commissioned to establish a collection of GDR everyday culture. Acquiring stock for this collection was a participatory process, based on decisions by private and institutional donors, largely without defined curatorial acceptance criteria.