Postcard from Mexico City: A peephole glance at more of her museums

Catholics in Mexico call on Baby Jesus to fulfill many roles, so it should come as no surprise that Museo del Objeto del Objeto, or Museum of the Purpose of the Object, has a Nino de Futball in its collection. We were sad to see soccer memorabilia the focus of its exhibition during our stay, but it certainly was popular amongst chilango families.

This post represents a museum wrap-up from our stay, a rather diverse hodgepodge of snapshots shortchanging the richness of the displays.

The diversity and depth of collections exhibited throughout Mexico City are amazing, yet the architecture of many of the buildings housing them is so stunning it sometimes outshines them.

Postcard from Mexico City: ‘For Main Course We’ll Have That’

Am slinging out these final food shots from our fall visit to Mexico City like a short-order cook in a bad diner, but I am off taking new photos of meals in an entirely different spot on the map.

Most of these are from the Roma Norte neighborhood where we stayed. Am keeping my comments at a minimum, so the pictures will have to serve in helping you decide about restaurants when journeying there yourself.

Particularly enjoyed the abundance of vegetable dishes, including a no-pasta spaghetti, at Bowie Cocina de Humo, but the restaurant does take its name seriously. Every course is tinged with smoke-infused flavor. By the end of the meal, my mouth almost felt as though I’d been smoking. We found the much-heralded Nudo Negro with its show-off parade up to the kitchen to receive your amuse-bouche from the hands of a chef a tad bit pretentious, but the long-roasted eggplant, split open and topped with humus tableside, melts in your mouth.

There must be thousands of less expensive places to eat a Mexican-style breakfast in Mexico City, but the park-facing patio of Café Toscano on Orizaba is so pleasant the higher price tag was absorbed without question. Both the red and green chilaquiles are wonderful, and the fresh juice combinations round out the meals.

We loved the neighborhood comfort feeling of having pizza on the patio at Cancino Roma or shrimp arancini and a bowl of robust roasted tomato soup at Macelleria, where, as you can see from the featured photo, the restaurant correctly profiled us with the name of the house wine. Few tables at the popular Huset fail to order avocado pizza.

The variety and freshness of ingredients and recipes never disappointed us at Delirio. Fresh salads and sandwiches, moussaka and falafel and fresh meringues are among the celebrated bakery’s fare.

Veering even farther away from stereotypical Mexican food, the curries and toms at Galanga Thai Kitchen are worth seeking. The green papaya salad in particular drew us out for a return visit. With its flavorful chicken, roasted eggplant and falafel moistened with spinach, Paprika enticed us back for multiple meals as well.

From there, jump into downtown for the old-school formality of service in the high-ceilinged Casino Espanol, worthy of entering for viewing the stained-glass in its Porfirio-era home alone. The croquetas, boquerrones and seafood soup transported us to Spain.

We almost avoided Casino Espanol after reading a review describing it as the type of restaurant attracting old suits entertaining young mistresses, but there were only a pair or two seeming to fit in that category. The poor Mister and Vic, unsuited and in the company of old wives.

Whether squiring old spouses or young paramours, diving into a throwback to the past is a recommended ingredient balancing out all the trendy contemporary kitchens so abundant in this bustling culinary capital.

 

 

Postcard from Mexico City: Rivera freed stories from ancient stones

After vanquishing the Aztecs in Mexico City, Hernan Cortes (1485-1547) requisitioned the stones from the destroyed palace of Moctezuma II (1466-1520) to build his home on the same site across the plaza from the Cathedral. While much of this building was devastated in 1692, the stones were incorporated yet again as the building blocks for what is known as the National Palace, the current home of Mexico’s Treasury and Archives departments.

Working on an immense mural on a massive staircase within the governmental building between 1929 and 1935, Diego Rivera (1886-1957) released some of the stories witnessed by those stones. Tackling centuries of the history of Mexico in one composition, he viewed his painting as an opportunity to redefine the national identity. An accompanying set of murals, added between 1940 and 1951 and covering part of the walls on the second floor, traced pre-Hispanic history and the early roots of products of Mexico.

Instead of presenting history through the traditional European descendant lens, an anti-Indian and anti-Mestizo lens, Rivera glorified what it meant to be Mexican. He did not shrink away from presenting the brutal horror of the conquest or the corruption he saw within the clergy or the reign of Porfirio Diaz (1830-1915). Native Americans and those of mixed race were given dignity as the true faces of Mexico.

Diego Rivera belonged to a generation of Mexican muralists who picked up paintbrushes as others would swords. His paintbrush was wielded as a powerful didactic tool for shaping public opinion and affecting political change.