Tendejónes Take Center Stage at New Exhibit at Palacio Cantón
Tendejónes, small neighbourhood shops, have been a staple of Mexican life for centuries, from the most significant cities to the tiniest towns. Until recently, it was unlikely to find yourself more than a few blocks away from one.
But these days, while they are not exactly scarce, modern convenience stores have certainly put a serious dent in mom-and-pop shops.
The photographic exhibition and artistic installation “Tendejón: Territorios comerciales y vínculos comunitarios en Mérida” by artist Florencio de Diego, at Palació Cantón, explores the link between these small family businesses as integral parts of Mérida’s community and its cityscape.
According to Florencio de Diego, “The photographs amplify the tension between permanence and displacement, between what was and what still struggles to remain.”
The photographs principally depict the facades of these tendejónes, also known as tienditas, which are known for their often off-the-wall names and bright colors. The exhibit also features photographs of tendejónes that have been long abandoned and sometimes even lack roofs, leaving only the remains of painted signs known as rotulos.
A large sign announcing the exhibit greets visitors as they enter the main room.Photo: Carlos Rosado van der Gracht / Yucatán Magazine
Tendejónes often serve not just as shops, but also as makeshift eateries, many workers and families rely on.Photo: Carlos Rosado van der Gracht / Yucatán Magazine
Tricitaxis are a staple of Mexican life, both in cities and rural areas, and are used to transport goods as well as people.Photo: Carlos Rosado van der Gracht / Yucatán Magazine
Far from romanticizing decline, the space examines how urban material—its textures, signs, openings, and absences—contains enduring stories integral to the city’s social fabric.
The exhibition also includes displays of everyday items found at tendejónes, including Yucatecan snacks, simple toys for kids, old glass cola bottles, hammock hooks, traditional candies, and, of course, representations of the Virgen de Guadalupe.
From a museographical point of view, one of the aspects that really makes the photographs “pop” is the contrast on which they are placed against a bright blue backdrop, which draws the eye.
Another section of the exhibit also recreates a scene familiar to all Yucatecos: the venerable tendejón, with its plastic chairs and tables, where simple meals like toratas de carne asada or tacos are served with a side of horchata or jamaica.
Other elements on display include a “tricitaxi” used by tendejón operators to move around their merchandise, as well as old crates and signs.
Florencio de Diego argues that when confronted with the exhibit, the visitor is challenged to decipher an emotional geography that emerges across layers of time, to question which memories endure, which are being erased, and how these humble tendejones fundamentally shaped the city’s daily experience and intimate character.
From the descriptions (in Spanish) that accompany the exhibit, it is clear that Florencio de Diego has reflected in great depth on the nature of tendejónes and Mérida’s relationship with them, from both an anthropological and an aesthetic perspective.
The installation also includes an audiovisual element: a video featuring several photographs, accompanied by music and narration, that offers a few more insights into the artist’s process and vision for the project.
The exhibit can currently be viewed at Mérida’s Palacio Cantón Museum of Anthropology (located on Paseo de Montejo), on the second floor.
Senior Editor Carlos Rosado van der Gracht, PhD, is a journalist, photographer, and expedition leader. Born in Mérida, Carlos holds degrees from universities in Mexico, Canada, and Norway. Most recently, he earned a doctorate in Heritage Studies in 2026.
