{"id":19273,"date":"2026-05-30T12:00:29","date_gmt":"2026-05-30T18:00:29","guid":{"rendered":"https:\/\/miranda-partners.com\/news-and-content\/miranda-intelligence\/culture-chatter\/mexico-culture-chatter-may-23-2026\/"},"modified":"2026-11-05T21:35:05","modified_gmt":"2026-11-06T03:35:05","slug":"mexico-culture-chatter-may-23-2026","status":"publish","type":"post","link":"https:\/\/miranda-partners.com\/es\/news-and-content\/miranda-intelligence\/culture-chatter\/mexico-culture-chatter-may-23-2026\/","title":{"rendered":"Mexico Culture Chatter, May 23, 2026"},"content":{"rendered":"

Michelin Guide 2026: New States, New Stars<\/strong><\/h3>

The Michelin Guide Mexico 2026 ceremony landed in Guadalajara this week, as Jalisco celebrated its first year in the prestigious guide alongside two other newcomers: Puebla and Yucat\u00e1n. The 2026 edition recognized 225 restaurants in total: 2 with Two Michelin Stars, 27 with One Star (7 new), 63 Bib Gourmand (16 new), 133 selected restaurants (31 new), and 11 Green Stars (3 new).<\/p>

Michelin for sure brings visibility and a commercial lift that few other restaurant guides can match, but is not without its critics. Its expansion into new markets \u2013 first CDMX, and now Jalisco, Puebla and Yucatan \u2013 is often funded by tourism boards and destination agencies, raising\u00a0questions<\/a>\u00a0on its objectivity. Food purists thus dispute its ever-increasing commercial approach, and of course its restaurant selection.<\/p>

Mexico City\u2019s Pujol (Enrique Olvera) and Quintonil (Jorge Vallejo and Alejandra Flores), both retained their Two Michelin Stars, and the seven restaurants earning their first star were spread across the new and old guard: Alcalde and Xokol in Guadalajara, Gaba and La Once Mil in Mexico City, and Huniik, La Barra de Huniik, and IXI\u2019IM in Yucat\u00e1n.<\/p>

The night\u2019s biggest story was the demotion of El Califa de Le\u00f3n \u2014 the first taquer\u00eda to ever receive a Michelin star in 2024 \u2014 which lost its star recognition this year. The restaurant was founded in 1968 and has a colorful history, but the Michelin star brought a stifling amount of attention (bordering on notoriety) as tourists swarmed to get in. The head parillero quit four months later, and media reported internal rifts caused by the blessing and curse of sudden global fame.<\/p>

Tacos haven\u2019t been left out of star ranking altogether this year, but they\u2019ve definitely gone more upscale. La Once Mil in Lomas de Chapultepec earned its first star with a concept that \u201celevates Mexican street food to new levels\u201d on a menu featuring premium-cut tacos of wagyu, sirloin, and arrachera, alongside specialties like the New York Delgadita and a truffle taco.<\/p>

Special awards recognized Rodrigo Caltenco N\u00fa\u00f1ez of Huniik (Service), Jonathan Robles of El Mural de los Poblanos (Sommelier), Priscila Moreno of M\u00e1ximo (Exceptional Cocktails), and X\u00f3chitl Vald\u00e9s of Pancho Ma\u00edz (Young Chef). Puebla didn\u2019t crack the starred tier but placed well in the Bib Gourmand category and its sommelier took home one of the night\u2019s top individual honors.<\/p>

According to CANIRAC, two years after the guide\u2019s arrival in Mexico, those linked to Michelin recognition report workforce growth of between 20 and 50 percent, though the impact extends beyond the listed restaurants. The guide has opened new opportunities for auxiliary industries (linens, furniture, logistics, delivery platforms) while also elevating demand for premium local ingredients.<\/p>

The restaurant sector already accounts for roughly 15 percent of Mexico\u2019s tourism GDP and nearly 2 million jobs \u2014 and gastronomic tourism spending is projected to grow another 2 to 5 percent in 2026.<\/p>

Paint The Town Purple<\/strong><\/h3>

Axolotls are whimsical, adorable and endangered, but only now \u2014 thanks to Mayor Clara Brugada \u2014 have they become controversial. The endemic amphibian that once populated the canals of Xochimilco is multiplying in murals and illustrations across the urban landscape as part of a citywide makeover for the World Cup, which also includes painting underpasses, streetlights, pedestrian bridges, signage, and public transport in bright shades of purple. Some chilangos are bemused, but others bemoan Brugada\u2019s \u201cajolotizaci\u00f3n\u201d of the city as a waste of resources and an aesthetic blight.<\/p>

The use of the axolotl as a city mascot isn\u2019t new \u2014 in fact, if you visit the CDMX webpage, you\u2019ll be greeted by Xoli the axolotl chat bot \u2014 but this latest amphibious assault began with the launch of a remodeled light rail, dubbed the Ajolote, on May 12. Brugada has embraced what began as a mocking term, saying that \u201cif\u00a0ajolotizar<\/em>\u00a0means making what was once grey full of color, building utopias, painting murals, transforming public space, painting in feminist purple, then of course we are\u00a0ajolotizando<\/em>.\u201d<\/p>

Brugada and her sympathizers have characterized the backlash as classist, coming from upper-class residents of the capital looking down their noses at the former mayor of Iztapalapa as a representative of embarrassing lower-class tastes. But critics say they aren\u2019t just bothered for aesthetic reasons, raising concerns about urgent public transportation, drainage and traffic issues that should be prioritized before millions of tourists descend on the city for the World Cup in a few weeks. Former PAN mayor of Benito Ju\u00e1rez borough, Santiago Taboada, wrote on X: \u201cPardon my \u2018classist\u2019 comments, but Mexico City doesn\u2019t need axolotls painted on the asphalt, much less does it need pedestrian bridges painted purple. We need more safe crosswalks, so people can walk without danger, and that there aren\u2019t potholes and that the streets don\u2019t flood.\u201d<\/p>

Others have pointed out that the disappearance of the axolotl from its native habitat (mostly due to water contamination and invasive species) demonstrates a lack of genuine concern about biodiversity conservation. According to UNAM data, the population collapse has been dramatic: in 1998 there were an estimated 6,000 axolotls per square kilometer in Xochimilco; by 2014 that figure had fallen to 36. In the most recent 2024 scientific surveys, researchers failed to capture a single live specimen at several traditional sampling sites.<\/p>

President Sheinbaum, however, has defended Brugada\u2019s initiative, saying that it \u201cmakes the city look nice\u201d and \u201cgives joy\u201d to residents.<\/p>

In an inverse example \u2014 of removing rather than adding urban imagery \u2014 during her term as mayor of the Cuauht\u00e9moc borough, Sandra Cuevas implemented a campaign in 2022 to remove the colorful hand-painted advertising on street carts (\u201cr\u00f3tulos\u201d) and replace it with the borough\u2019s logo, ostensibly to clean up the city\u2019s image and bring \u201corder and discipline\u201d. The outcry was widespread: Cuevas was accused of erasing the city\u2019s traditions and artistry, and eventually, the policy was reversed by her successor. Perhaps what provokes resentment isn\u2019t axolotls or purple paint, but the top-down government imposition of an aesthetic change that no one asked for.<\/p>

Mexico on the Croisette<\/strong><\/h3>

The Mexican delegation at the 79ava<\/sup>\u00a0Cannes Film Festival includes both established icons and emerging new voices in film.<\/p>

The festival opened with Guillermo del Toro presenting a new 4K restoration of\u00a0Pan\u2019s Labyrinth<\/em>, twenty years after its Cannes world premiere to a still-record-holding 22-minute standing ovation. Del Toro had personally supervised every stage of the restoration from the original 35mm negative, and the film was once again met with enthusiasm, with del Toro receiving several minutes of applause as he took the stage.<\/p>

Del Toro said the original shoot \u201cwas the second worst filmmaking experience of my life\u201d, adding that no one had wanted to finance it and everything that could go wrong did go wrong. He also reflected on the film\u2019s relevance today: \u201cWe are, unfortunately, in times that make this movie more pertinent than ever,\u201d he said, \u201cbecause they tell us everything is useless to resist, that art can be done with a fucking app.\u201d<\/p>

Diego Luna, a regular at the festival, returned this year in the director\u2019s chair with\u00a0Ashes<\/em>\u00a0(Ceniza en la boca<\/em>), a family drama based on the book by Mexican author Brenda Navarro about a 21-year-old woman who leaves Mexico with her younger brother to reunite with their mother in Madrid, presented in the Special Screenings section. Luna\u2019s fifth feature as director explores anti-immigrant prejudice which he said is rooted in \u201cignorance and selfishness\u201d and can be found \u201ceverywhere\u201d.<\/p>

The reception from critics was mixed. Variety described the film as \u201cmiddling and meandering,\u201d praising lead actress Anna D\u00edaz as \u201cremarkable\u201d but finding Luna\u2019s direction structurally weak. The film\u2019s stars, Anna D\u00edaz and Adriana Paz \u2014 who won a joint Best Actress award at Cannes in 2024 along with the other leads in the critically acclaimed but popularly panned Emilia P\u00e9rez \u2014 traveled to the premiere.<\/p>

Mexican cinema returned to official competition at Cannes, after an absence last year, with\u00a0Seis meses en el edificio rosa con azul<\/em>, the debut feature of young director Bruno Santamar\u00eda Razo, selected for the 65th Semaine de la Critique \u2014 dedicated to emerging talent. The section carries special weight in Mexico: it launched the careers of Guillermo del Toro, who won its top prize with\u00a0Cronos<\/em>\u00a0in 1993, and Alejandro Gonz\u00e1lez I\u00f1\u00e1rritu, who won it with\u00a0Amores Perros<\/em>\u00a0in 2000.<\/p>

The film blends documentary and fiction to tell the semi-autobiographical story of an 11-year-old boy navigating his father\u2019s HIV diagnosis in 1990s Mexico, at a time when there was no treatment and the disease was surrounded by homophobic misinformation. It was warmly received by audiences. \u201cIt\u2019s been very emotional, very tender,\u201d said director Santamar\u00eda Razo after the screening.<\/p>

U2 Gets \u201cAjolotizado\u201d in CDMX<\/strong><\/h3>

U2\u2019s visit to Mexico City to film the music video for the band\u2019s new single,\u00a0Street of Dreams<\/em>, made rich viral fodder (and yes, it also involved axolotls). The shoot took place on May 12 at the Plaza de Santo Domingo in the historic city center, where the iconic Irish rockers performed atop a school bus decorated with graffiti by Mexican artist Chavis M\u00e1rmol. The bus\u2019s front sign read \u201cLa Calle de los Sue\u00f1os\u201d and Bono led the crowd in the song\u2019s bilingual chorus: \u201cLa calle \/ Calle de los Sue\u00f1os \/ Justice an obsession on the Street of Dreams.\u201d<\/em>\u00a0Hundreds of fans who were secretly recruited through U2\u2019s official website just days before the shoot participated as extras in the production.<\/p>

A torrential downpour halted filming after just three takes, but when the storm eased, the band moved to the balcony of a nearby building for an impromptu acoustic set of classics \u2014 and later went viral after a video showed them entering an apartment to personally thank the family who let them use the balcony.<\/p>

Bono and The Edge also attended the Street Child World Cup at the Teatro Hidalgo, where they had a starstruck encounter with President Sheinbaum. The Edge said they were \u201csuch fans\u201d of the president, and Bono praised her for \u201cuniversal health care\u201d (maybe thinking he was in Denmark) and \u201craising the minimum wage\u201d, referring to her as \u201cmy president\u201d as they walked off the stage.<\/p>

The band also met with Mayor Clara Brugada, who gifted each band member with an artisanal axolotl figure. Brugada called U2 \u201cthe most beloved band in this city\u201d (don\u2019t tell BTS) and after they were \u201cajolotizados\u201d, handed Bono a formal invitation to perform at the Z\u00f3calo. In response, Bono told Brugada that it was his dream to kick off the band\u2019s next tour in Mexico City.<\/p>

Panini Pandemonium: (Capitalism 3: Nostalgia & Heritage 0.)<\/strong><\/h3>

Every four years, the Panini World Cup album (first launched for the 1970 Mexico World Cup) becomes a collective obsession that transcends age, language, and borders. School recesses become trading floors, office desks and kitchen counters fill with stickers, and social media buzzes with meetups to swap duplicates. Certain stickers take on near-mythical value, and the pressure to complete the album can reach surprising heights \u2014 during the 2022 Qatar World Cup, Argentina\u2019s government actually intervened over a sticker shortage, with the Secretary of Commerce meeting with Panini representatives to resolve the national crisis.<\/p>

The 2026 edition is the largest in the album\u2019s history, reflecting a tournament that for the first time features 48 national teams and 104 matches \u2014 and sales in Latin America are already running 24% ahead of the Qatar 2022 edition, driven by strong demand across the region.<\/p>

The album also highlights inequality, in a tournament that is increasingly becoming an elite event (2026 ticket prices cost more than double what they did in 2022, adjusted for inflation). Some children save weeks to buy a few packets, while others completed it within 48 hours of launch (filling in the album can cost more than 4,000 pesos). Counterfeit printable sticker sheets are circulating on social media and messaging apps, offered as free PDF downloads, but experts warn these files can hide dangerous malware.<\/p>

What collectors may not know is that 2026 could be one of the last chances to experience the traditional Panini album. The company\u2019s licensing agreement with FIFA expires in 2030, after which American sports collectibles giant Fanatics (through its Topps brand) will take over production. For Panini, it marks the end of a tradition spanning more than 60 years and 15 World Cup albums. The Italian publisher says the end of the license was FIFA\u2019s decision and is already pivoting toward a more diversified business, expanding into comics, manga, and global entertainment licenses. Behind the scenes, the company has reportedly hired Citi to explore strategic options, including a possible sale.<\/p>

Chatter Box<\/strong><\/h3>

Turn Off Your Phones, Please:\u00a0<\/strong>Mexico City\u2019s Congress unanimously approved a reform to the city\u2019s Education Law to regulate the use and possession of mobile phones by students in primary and secondary schools during school hours. The reform does not impose an outright ban and removes any punitive or automatic-sanction approach; phones may still be used in exceptional cases related to educational activities, emergencies, or situations authorized by teachers. Mexico City joins several other states (including Quer\u00e9taro, Guanajuato, Morelos, Aguascalientes, and the State of Mexico) that have recently moved to limit phone use in basic education schools.<\/p>

The legislative debate is playing out against the backdrop of screen-time data presented by Mexico\u2019s Undersecretary of Higher Education, who noted that Mexicans over age 16 spend an average of 7 hours and 32 minutes online daily \u2014 nearly a full workday, and almost an hour more than the global average of 6 hours 38 minutes. He added that 79 countries have already regulated smartphone use in schools, and that the federal government\u2019s approach favors dialogue with academics and scientists over outright bans. Lawmakers also cited that 75 percent of teachers report students are constantly distracted by phones in class, and that more than three million adolescents in Mexico have been victims of cyberbullying or online sexual exploitation.<\/p>

\u201cLa Princesse Rouge\u201d turns 94:\u00a0<\/strong>Elena Poniatowska still ventures out from her Coyaoac\u00e1n home to walk around the city, talk to people and write \u201ccr\u00f3nicas\u201d as she has done since her early days working as a journalist in Mexico City in the 1950s and 60s. Poniatowska celebrated her 94ava<\/sup>\u00a0birthday this week and in an interview with La Jornada, said that \u201cI write because everything moves me.\u201d Born in Paris on May 19, 1932, as H\u00e9l\u00e8ne Elizabeth Louise Amelie Paula Dolores Poniatowska Amor (a descendant of the last king of Poland) she is known by a string of affectionate nicknames:\u00a0la Poni<\/em>,\u00a0Elen\u00edsima<\/em>,\u00a0la Princesa Roja<\/em>,\u00a0la Cervantowska<\/em>. Her son Felipe Haro Poniatowski turned down the opportunity to sell a potential sale of her personal library and archive by the family \u2014 thousands of books, hours of recordings, and uncatalogued manuscripts \u2014 to Princeton University, keeping it in Mexico, and leads the Fundaci\u00f3n Elena Poniatowska Amor to preserve what he considers a cultural patrimony belonging to the Mexican people. President Sheinbaum recently urged that the archive be protected.<\/p>

Some are skeptical. In an op-ed in La Jornada, Javier Aranda Luna points to the neglected archive of Octavio Paz \u2014 held in state custody but apparently neither classified, stabilized, nor properly conserved, alongside 476 artworks by T\u00e0pies, Tamayo, Carrington, and others \u2014 and to the government\u2019s recent indifference toward the archive of playwright Miguel Sabido, as evidence that official disdain for cultural heritage is \u201calmost an administrative tradition\u201d.<\/p>

Ruins Reroute Railway:\u00a0<\/strong>Archaeological salvage work along the Mexico City\u2013Quer\u00e9taro passenger rail corridor has uncovered a significant pre-Hispanic site near the community of Ignacio Zaragoza, Hidalgo, forcing engineers to reroute the project once again.<\/p>

Since September 2025, an INAH team has been excavating a roughly 2,400-square-meter area that overlaps directly with the proposed rail line. Using precision orthophotography alongside traditional excavation, researchers identified a pattern of small residential compounds connected by central and lateral patios in a layout consistent with Teotihuacan-era settlements. The site dates primarily to the Tlamimilolpan and Xolalpan phases (225\u2013550 AD), during Teotihuacan\u2019s peak expansion.<\/p>

Archaeologists uncovered five shaft-style tombs and more than a dozen individual and collective burials, containing both complete and fragmentary skeletal remains, predominantly adult but with some juveniles. One tomb held eight individuals in a seated position, surrounded by 47 miniature ceramic vessels placed at their feet. Evidence suggests the funerary spaces were reused over time, with earlier burials deliberately displaced to accommodate new ones \u2014 pointing to complex, evolving ritual practices.<\/p>

The site also appears to have served as a limestone quarry supplying Teotihuacan, located 90 kilometers away. INAH researchers say these discoveries are invaluable for understanding the beliefs, social structure, and culture of communities that thrived in Teotihuacan\u2019s orbit and that Hidalgo may hold far more of this buried history than previously known.<\/p>

Frida and Diego at The Met<\/strong>:\u00a0<\/strong>El \u00faltimo sue\u00f1o de Frida y Diego<\/em>, with music by Gabriela Lena Frank and libretto by Nilo Cruz, premiered at the Metropolitan Opera in New York City on May 14 \u2014 the most anticipated debut of the season. It will be broadcast live in HD on May 30 to theaters in over 70 countries, including Mexico, where it will screen at the Auditorio Nacional alongside other venues across the country. The opera, which had its world premiere at the San Diego Opera in 2022, imagines a reunion for the tempestuous artists in the afterlife. Diego Rivera asked for his ashes to be mixed with Frida Kahlo\u2019s at her Casa Azul, but was buried instead at Mexico City\u2019s Rotonda de las Personas Ilustres. The opera gives the couple the reconciliation history denied: Frida returns from the underworld on the Day of the Dead to guide Diego across to join her.<\/p>

For Spanish baritone Carlos \u00c1lvarez, the political context was inseparable from the artistic one. Performing a Spanish-language opera at the world\u2019s most prestigious opera house, under the Trump administration, felt to him like an act of cultural affirmation. \u201cThe Spanish language and Mexican culture as civilizing and humanist elements,\u201d he said, were his dual purpose in taking the role. Of Frida and Diego themselves, he concluded: \u201cThey transcended the merely artistic to become an epitome of the human.\u201d<\/p>

More Museum Visits:<\/strong>\u00a0Mexican museums saw an uptick in visitors last year, with 52.2 million visitors recorded across 1,215 museums surveyed by INEGI \u2014 up from 51.5 million in 2024 and 48.4 million in 2023. The rebound from the pandemic low of 12.8 million visitors in 2020 is clear, though the sector is still well below its 2017 peak of 75.2 million. Attendance is heavily concentrated geographically: Mexico City alone drew 25.8 million people across 166 museums, making it the country\u2019s dominant cultural hub by a wide margin, followed by Nuevo Le\u00f3n (4.7 million, 47 museums) and Guanajuato (2.4 million, 60 museums).<\/p>

Access is broadly free: 59.8 percent of museums operated with free entry year-round, 21.1 percent charged an admission fee, and 19.1 percent offered free days on a rotating basis. Nine in ten museums offered guided tours, and just under half had arts and cultural programming. Some 37.8 percent of the roughly 32,000 museum workers were volunteers or social service participants, highlighting the sector\u2019s reliance on unpaid labor.<\/p>

The visitor profile skews educated and surprisingly young. Nearly 62 percent of the more than 191,000 visitors surveyed had university-level education, and the biggest single age bracket (15 percent of the total) was 20 to 29 years old. Two-thirds of visitors reported having received family encouragement to visit museums during childhood, underscoring the role of early cultural exposure in shaping adult habits.<\/p>

100 years of Teodoro Gonz\u00e1lez de Le\u00f3n:\u00a0<\/strong>Mexico City is marking the centennial of the birth of Teodoro Gonz\u00e1lez de Le\u00f3n (1926-2016) with a wide-ranging program titled\u00a0\u201cTGL: Cien a\u00f1os de legado\u201d<\/em>, running from May through October 2026. Gonz\u00e1lez de Le\u00f3n was one of Mexico\u2019s most celebrated architects, whose work fundamentally shaped the visual identity of the metropolis over six decades. A student of Le Corbusier in Paris, he developed a signature aesthetic rooted in brutalism but distinctly his own, through his use of \u201cTeodorocreto,\u201d an exposed concrete mixed with crushed white tezontle volcanic stone that gave his buildings a luminous, textured surface. His major works include the Museo Tamayo, the MUAC, the Colegio de M\u00e9xico, the Fondo de Cultura Econ\u00f3mica, the Lunario del Auditorio Nacional, and Reforma 222, among many others scattered across the capital. Gonz\u00e1lez de Le\u00f3n was also a painter, urbanist, and public intellectual, making him one of the most multifaceted cultural figures of 20th-century Mexico. The celebrations began this week with free guided tours along two routes visiting his most iconic buildings across the city. On his birthday (May 29), a street near the Parque La Mexicana in Santa Fe will be renamed in his honor, and that week, screenings of Maill\u00e9\u2019s documentary\u00a0Teodoro en Concreto<\/em>\u00a0will take place at cinemas housed in buildings he designed, in Mexico City, Monterrey, and Guadalajara.<\/p>

Culture Conversation<\/strong><\/h3>

Juan Villoro<\/a>\u00a0on Aristegui Noticias<\/strong><\/p>

Prolific author Juan Villoro discusses his latest book about football (\u201cone of the few passions I haven\u2019t abandoned\u201d),\u00a0H\u00e9roes Numerados,\u00a0<\/em>in this interview with Carmen Aristegui. Villoro\u2019s expansive look at the history of the sport, the culture of fandom and its societal and political relevance is a fun and enlightening listen.<\/p>

Culture Outing<\/strong><\/h3>

Mexico City is home to 194 museums and many of them have gone full World Cup mode. Here are six exhibitions that football history fans will enjoy:<\/p>

  • En\u00a0Museo Franz Mayer<\/strong>\u00a0(Centro Hist\u00f3rico) is hosting\u00a0F\u00fatbol. Dise\u00f1ando una pasi\u00f3n<\/em>, a visual history of American World Cups through the design of jerseys, balls, and logos \u2014 featuring 309 objects including shirts worn by Pel\u00e9, Maradona, Messi, and Hugo S\u00e1nchez. Open until August 16; entry $180 pesos.<\/li><\/ul>
    • En\u00a0Museo Jumex<\/strong>\u00a0(Polanco) presents\u00a0F\u00fatbol y Arte: Esa misma emoci\u00f3n<\/em>, exploring the intersections between contemporary art and football through paintings, sculptures, video, and installations. Open until July 26; free entry.<\/li><\/ul>
      • En\u00a0Museo Memoria y Tolerancia<\/strong>\u00a0(Alameda Central) has\u00a0Juego Limpio: la cancha que nos une<\/em>, spanning six rooms with 150 objects tracing football\u2019s ancient roots through to its social and cultural impact today \u2014 including cases like Didier Drogba\u2019s role in the Ivory Coast peace process and Megan Rapinoe\u2019s fight for equal pay. Open until September; entry $100 pesos.<\/li><\/ul>
        • En\u00a0Museo Yancuic<\/strong>\u00a0(Iztapalapa) features\u00a0\u00c1lbum \u00c9pico<\/em>, with more than 15,000 pieces celebrating the World Cups held in Mexico (1970, 1986, and 2026), including personal objects and match-worn items from Pel\u00e9, Maradona, Ronaldo Naz\u00e1rio, and Jorge Campos, plus interactive areas with vintage broadcasts and foosball tables. Open until July; free entry.<\/li><\/ul>
          • Universum<\/strong>\u00a0(Ciudad Universitaria) is running\u00a0La ciencia est\u00e1 en la cancha<\/em>\u00a0through October 4, exploring football from a scientific angle \u2014 the geometry of balls, the physics of impossible goals, and real training methods. Entry from $90 pesos.<\/li><\/ul>
            • En\u00a0MIDE<\/strong>\u00a0(Museo Interactivo de Econom\u00eda, Centro Hist\u00f3rico) has transformed its courtyard into a stadium-like space for\u00a0Pasa el bal\u00f3n<\/em>, where visitors can act as referee, commentate plays, and explore football\u2019s economic and cultural impact. Open until August 30; entry $160 pesos.<\/li><\/ul>","protected":false},"excerpt":{"rendered":"

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