The paper reconsiders the relationship between the concept of international cooperation and heritage processes in the light of the original principles of the Nouvelle muséologie and its later museological and museum derivatives. Explaining formative ideas that have made a radical distance from the (and often still visible) conventional models of musealisation and the principle of activating memory in general, the paper places the "neuralgic" spots of establishing any form of cooperation at the institutional and non-institutional level, subsequently the cooperation which is administratively referred to as an international one. Heritage processes, understood as public services for the activation of social introspection, operate simultaneously at different identity levels and in their essence do not imply boundary concepts because they are definitely irregular and changeable, and the subject of musealisation itself. Following the principles of the Nouvelle muséologie, the paper simultaneously affirms every form of (international) cooperation at the practical level, but also notes the absurdity of its positioning as a qualitative category.