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This article examines the renovation and commercial re‐launch in the 1990s of some of the grand hotels built in South‐East Asia during the high colonial era (1880s–1910s) and their social construction as historic monuments. The analysis focuses on architectural enhancement and discursive authentication as the key practices whereby the semblance of historic authenticity is bestowed on these hotels and made available as nostalgia to consumers. The article also considers whether renovated colonial hotels should be regarded as sites of consumption or as emerging ‘mnemonic sites’, filling in the vacuum caused by the progressive obliteration of ‘mnemonic environments’ in South‐East Asia's urban landscape.

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In the mid 1920s Prince Damrong Rajanubhab and George Coedès jointly formulated the stylistic classification of Thailand's antiquities that was employed to reorganize the collection of the Bangkok Museum and has since acquired canonical status. The reorganization of the Bangkok Museum as a ‘national’ institution in the final years of royal absolutism responded to increasing international interest in the history and ancient art of Southeast Asia, but represented also the culmination of several decades of local antiquarian pursuits. This paper traces the origins of the art history of Thailand to the intellectual and ideological context of the turn of the twentieth century and examines its parallelism to colonial projects of knowledge that postulated a close linkage between race, ancestral territory and nationhood.