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can infer that this city since its beginning is always the landscape of trans-national cultural flow due to its position as important port providing commodities needed by trans-national market. Pak Kasirun showed me that 'Indonesia is famous with its spices which at that time were recognized as the best in the European market'. However, in contrast with the visibility of Chinese cultural identity embedded in the ceiling and the door of each room, the narrative of the history constructed by arrangement of the collections remains silent about the existence of the Chinese ethnic. The Chinese existence throughout the timeline of the history seems to be suspended and invisible. The existence of China settlement during the Jayakarta period spotted by Cornelis Houtman, or even as mentioned before by Pak Kasirun, is nowhere in the narrative, or even the 'Chinese Kampoeng' spotted by Worsfold. In contrast to this, the narrative captures and displays the coming of the Portuguese and their settlement; of which Pak Kasirun gave very extensive information about this while he remained silent to give or to connect the relation with the visibility of Chinese identity. The question rises here: where is the Chinese?

The answer for this question is located in M.H. Thamrin room. The Chinese cultural identity is embedded in the collection of Betawi ethnic; whom Pak Kasirun referred as 'the nativesa€|by the time they were born even until they grow olda€|.'. It is married to the wedding costume of Betawi, attuned to Betawi traditional musical instrument, and creolized in Betawi language. Before extending this personification, below, I am going to sketch up some notions about this narrative.

What I perceive from the narrative is that the sequence of time and the constitution of collection in each timeline follow the logic of synchronization and order, which in a way represents the modern sense of time and space. Seen from this logic, each collection is a constitutive unit of a larger structure of signification.

The logic can also be abstracted from the naming of the rooms. The naming of the rooms, in some ways, leads to summarization of selected particular events into one particular representation. What is interesting here is the naming of Fatahillah room, Sultan Agung room, and M.H. Thamrin room. Out of so many events constructed by the collections, they are summarized into one centralized figure. The events during Jayakarta period of this city and the coming of Portuguese are summarized into the centrality of Fatahillah; the events during the invasion of Mataram to Batavia into the centrality of Sultan Agung; Betawi ethnicity into the centrality of M.H Thamrin. Thus, another point can be highlighted in the narrative: the notion of centrality.

So far, there are two points can be argued from the narrative: First, the modern sense of time and space which is represented through synchronization and order; and second, the notion of centrality which is represented in summarization of particularity into one central signification. Seeing from these two points, the selection, arrangement, and division of collections can be read as 'diagnosing, directing, and prescription [6] ' of what people have to know about the historicity of this city. Thus, this notion may lead to exclusion and privileging certain details to fit certain purposes.

This notion can be noticed clearly from the exclusion of Chinese