When Howard Carter first gazed into the tomb of Tutankhamun in 1922 and uttered the words "Wonderful things," he could hardly have imagined the day when every single object he uncovered would be displayed together in one monumental space. Yet, more than a century later, Egypt has done just that—unveiling the Grand Egyptian Museum (GEM) near the Giza Pyramids, a cultural marvel that is making headlines across the world.
After decades of anticipation, setbacks, and global fascination, the Grand Egyptian Museum opened its doors to the public in the week leading up to November 6, 2025. The museum, sprawling over 5.4 million square feet (or about 490,000 square meters), is the largest archaeological museum dedicated to a single civilization anywhere on Earth, according to reporting from The New York Times and other outlets. Its location, just 16 kilometers southwest of Cairo, offers breathtaking views of the ancient pyramids through its massive windows, blending Egypt’s past and present in a single panoramic sweep.
"The opening is a gift from Egypt to the world," declared President Abdel Fattah el-Sisi at the grand opening ceremony, as reported by The New York Times. The sentiment captures the museum’s dual ambition: to dazzle the world with its treasures and to reassert Egypt’s role as the steward of its own heritage.
The centerpiece of GEM is, without question, the complete collection of Tutankhamun’s treasures—more than 5,500 artifacts, many of which had languished in storage or were scattered across other museums for decades. For the first time since Carter’s legendary excavation, these relics are reunited in a single, state-of-the-art exhibition. Visitors enter the Tutankhamun galleries through a corridor illuminated by flashing hieroglyphics, stepping into a world that spans the boy king’s life, death, and the centuries of intrigue surrounding his legacy. The famed golden funerary mask, perhaps the most iconic image of ancient Egypt, sits at the heart of the main hall, surrounded by chariots, beaded sandals, gilded thrones, and even domestic utensils—each piece meticulously restored and displayed under custom lighting that highlights their intricate craftsmanship.
According to The Courier-Mail, the museum houses more than 100,000 artifacts in total, covering seven millennia of Egyptian history, from pre-dynastic times through the Greek and Roman eras. The main building features 12 exhibition halls, a 10,000 square meter atrium lined with alabaster panels etched with royal names, and no fewer than 60 royal statues, including a 16-meter-long suspended obelisk and an 11-meter-tall, 73-ton statue of Ramesses II. The exterior of the building is adorned with hieroglyphs, further rooting the modern structure in the ancient tradition it celebrates.
But GEM is not just about grandeur and spectacle. Egyptian historians and curators have made a point of highlighting artifacts that tell the stories of everyday life in ancient Egypt. Statues of brewers and bakers at work, busts featuring women’s hairstyles from short bobs to elaborate wigs, and a tiny clay figure of a man petting his dog all offer glimpses into a civilization as rich in daily humanity as it was in royal opulence. Monica Hanna, a leading Egyptologist, told The New York Times, "The most significant items are those that connect us to the non-royal population, to daily life."
Technological innovation is woven throughout the museum experience. In one recreated tomb, digital projections bring ancient friezes to life: hunters draw bows, gazelles leap, and farmers balance baskets, all animated in vivid color. The museum’s architecture and interactive multimedia programs aim to immerse visitors in Egypt’s civilization on a deeper level, as described by The Indian Express. The museum also boasts new restoration facilities and an in-house staff of about 300 restorers, emphasizing Egypt’s commitment to both preservation and scholarship.
The road to GEM’s opening was anything but smooth. First proposed in 1992, construction began in 2005 but was repeatedly delayed by the 2011 revolution, subsequent political upheaval, the COVID-19 pandemic, Russia’s invasion of Ukraine in 2022, the war in Gaza in 2023, and Israeli strikes on Iran earlier this year. Despite these challenges, the museum finally came to fruition at a cost of $1.53 billion, as The Courier-Mail reports—a testament to both Egyptian perseverance and the global importance of its cultural legacy.
Tourism is at the heart of GEM’s mission. Egypt’s Minister of Tourism and Antiquities, Sherif Fathy, told reporters he expects the museum to attract up to five million visitors annually, generating much-needed foreign currency for a country grappling with significant debt. Already, developers are racing to build some 12,000 hotel rooms nearby to accommodate the anticipated influx. The opening day saw throngs of visitors from across Egypt and around the world—older men in traditional robes, young influencers in ancient Egypt-inspired jewelry, and families eager to reconnect with their heritage. Mai Mohammed, a 26-year-old aspiring social media influencer, summed up the excitement: "I wanted to see everyone’s reactions—I’m so happy to see this."
The museum’s grandeur also serves a political purpose. For many Egyptians, GEM is a platform from which to renew calls for the return of iconic antiquities held abroad, such as the bust of Queen Nefertiti in Berlin, the Rosetta Stone in London, and the Dendera Zodiac in Paris. "The old arguments against return are crumbling," Monica Hanna argued, pointing to the museum’s world-class facilities. Bassam El Shamaa, another prominent Egyptologist, was even more direct: "Don’t talk to me about protection, please. Hello! We need our stuff back—especially from the Louvre." Egyptian officials, while more diplomatic, hope to at least persuade European museums to send these treasures for temporary exhibitions, giving Egyptians the chance to see their ancestors’ legacy firsthand.
Security remains a concern, with Level 2 terrorism warnings still in place from the US and Australian governments. President el-Sisi, however, has declared the country safe for travelers and is betting that the allure of Egypt’s ancient wonders will outweigh any lingering fears. The government is also leveraging the museum’s opening as a springboard for broader tourism initiatives, aiming to position Egypt at the forefront of global cultural tourism.
In the end, the Grand Egyptian Museum is more than just a building or a collection of artifacts—it is a bold statement of national pride, cultural reclamation, and global ambition. As visitors stream through its alabaster halls, gazing at the treasures of Tutankhamun and countless other marvels, they are witnessing not just the wonders of ancient Egypt, but the country’s determination to shape its own narrative for generations to come.
