There is a broad consensus that the Egyptian military has consolidated control over the economy and levers of state power since the military coup that brought Abdel Fattah al-Sisi to power in 2013. This penetration of the Egyptian military into the range of organs of the state directs attention to the stories that the Egyptian military tells of itself at spectacle of the Ministry of Defense-administered museums. I follow Timothy Mitchell’s analysis of the machinery of representation that rendered the world beyond the threshold of the museum as an extension of the logics of the museum. This paper explores the representation of the Egyptian military and General Abdel Fattah al-Sisi through the questions: To what extent have the 6th of October Panorama and National Military Museum in the Citadel been transformed under the al-Sisi regime? How does the figure of al-Sisi register, in particular, and the present-day Egyptian military, in general, register in these museums administered by the Ministry of Defense? And how do those changing representations correspond to the changing role of the Egyptian military in the configurations of state power? I argue that there has been a rolling back of the triumphal language at the panorama and National Military Museum as the Egyptian military consolidated unprecedented control of the state. Whereas the Hosni Mubarak regime invested heavily in the representation of the Egyptian military in Ministry of Defense museums through cooperative agreements with Democratic Republic of North Korea artists to redesign the National Military Museum and to build the 6th of October Panorama in the 1980s and 1990s, the current regime directed efforts to high-profile megaproject collaborations with engineers and real estate companies from the Gulf, China, and Europe to articulate visions of Egypt. These shifting practices of representation speak to the changing interpretation of the Egyptian military and the stories they tell themselves about themselves. I advance this argument through multi-day visits to the 6th of October Panorama in Heliopolis and the National Military Museum in the Cairo Citadel with attention to the practices of representation of the al-Sisi regime against the transformations in Egyptian state power since 2013. I situate recent transformations in relation to the 1990s renovation of the National Museum and the 1980s creation of the 6th of October Panorama.