UNESCO’s recent recognition of specific cuisines and culinary forms as cultural patrimony has impacts far beyond those foodways that have been officially recognized; there has been a larger shift in how cuisines are understood and commodified, as bodies of knowledge and practice that are both coherent and creative. Andean (highland Bolivian and Peruvian) cuisine, defined broadly, is one location where we can see these shifts. Andean foodways are currently undergoing a moment of international recognition, although they are not yet recognized by UNESCO as “intangible patrimony.” Peruvian cuisine is now well-known in North America and Europe. Quinoa exports continue to climb, despite misgivings among well-meaning Western vegans about the impacts on indigenous Bolivian farmers. Specialty coffees, chocolates, salt, and other foods are appearing in touristic markets in La Paz. In the realm of elite “novoandino” cuisine, Andean ingredients and culinary techniques are intentionally employed, modified, and integrated with other culinary traditions to produce expensive dishes served in high-end restaurants in cities such as La Paz and Lima. This paper will consider how the formulation of “cuisine” as “patrimony” is in conversation with how—and to what audiences—“novoandino” cuisines are created and marketed.