The centrality of the gift shop reached new elevated heights at the most recent Tutankhamun global blockbuster exhibition in London. A large statue of the so-called boy-king, which would have traditionally represented the grand-finale of an exhibition, had been unceremoniously demoted. As attendees exited room five that housed the statue, they were met with a sign “Continues in Tutankhamun Shop and Exit”. The “continues” sign represented a clear shift in the centrality of the modern day museum gift shop. The gift shop was not a separate entity, a place to buy a souvenir commemorating attendance to an exhibition showcasing an ancient civilization of the world. Rather, the gift shop was an extension of the collection. If museum exhibitions are primarily a method of education and showcasing objects, then what did the sign at the exit of room five communicate? By continuing the exhibition through the gift shop, ancient heritage was commodified and presented at the gallery as equal to “Tut” headgear, poorly crafted clay scarabs and “authentic Egyptian sand” sold in genie shaped jars. As Suzy Mirgani (2018) has argued in the case of Qatar, modern museum merchandise represents a new stage in national identity formation. Souvenirs narrating the nation are no longer traditional but rather constructed to be internationally recognizable and commodifiable. I argue that the global blockbuster “Treasures of Tutankhamun” tours of the 1970s marked the genesis of the modern museum gift shop. During the tours to the UK, US and Germany, reproductions, of varying quality, catered to consumer demand, and modern notions of museum exhibition design. The gift shop became integral to the experience of exhibition-goers. Interaction with “objects” provided a kinesthetic intimacy whilst also providing a memento or souvenir. It was also the beginning of Egypt’s relationship with commercial artifacts for the sole purpose of new nationalist goals. The gift shop had long existed, however with the blessing and active involvement of the Egyptian Ministry of Antiquities, Ministry of Building and Construction and Ministry of Tourism, souvenirs and “Tut tat” were actively sold and promoted during the international tours. This commodification of heritage was central in the Egyptian governments vision to promote heritage, tourism and international investment more broadly. The profits of the sales provided an income, which would be used towards the renovation of the Egyptian Museum in Cairo and promote investment in new urban and heritage-site developments.