This essay seeks to analyze the strengths and weaknesses of the Singapore History Gallery at the National Museum of Singapore. The analysis in this article will be done by examining the intersection of memory, heritage and history in the museum's representation of Singapore's past, the relationship established by the museum between Singapore's past and present, as well as the museum's representational strategy through which meanings are transmitted. Although the Singapore History Gallery has educational value and provides a seemingly comprehensive account of Singapore's history from the 1300s to the modern era, the gallery is not without its inadequacies. This gallery's flaws are most glaring in the exhibits dealing with Singapore's post-independence history. The intersection of memory, heritage and history in the museum's representation of Singapore's past. The Singapore History Gallery, by intersecting memory, heritage and history, has attempted to provide a clearer vision. a picture of Singapore's history, with an overarching historical narrative. History, according to John Arnold, “begins with the sources.” However, even though history begins with the examination of sources, “[historians] must be aware of the nuances of the sources, the discrepancies between what is said and what is not said; their rhythms and syncopations. Throughout the gallery, it is evident that emphasis has been placed on the historical aspect of Singapore, where objects and sources have been used to provide general knowledge of Singapore's past. The sources included transcripts of Eunos Abdullah trying to fight for the improvement of education for Malay boys in Singapore, to have Malay boys in vernacular schools taught English. The source also showed how British officials, who thought they had done too much...... middle of paper ...... exhibitions after Singapore's independence were geared more towards the People's Action Party narrative (PAP) on the history of Singapore, how Lee Kuan Yew built the nation we enjoy today. There appears to be a deliberate silencing of the PAP's political opponents. Exhibitions from the 1960s made no mention of political opponents. The exhibition ends abruptly, with little discussion of Singapore's progress during and beyond the 1970s, and seems to suggest that Singapore's history ended with the economic success achieved during the 1970s. , with successful nation-building represented by the August 9 video, which commemorates Singapore's National Day. This is the inherent weakness of the exhibition, as it fails to provide a complete picture of Singapore's history, Singapore's struggles after independence..