Abstract
Abstract Climbing the stairs, I emerged from the bustling, crammed subway station into the subdued light of a summer day in Mexico City’s rainy season. The day before at this particular underground stop, a shrine had been dedicated to the Virgencita (Veer’-hen-seeta), the “Little Virgin” (Figure 1). The month before, she had made herself known through a simple water spot that took her shape on the concrete floor of the Hidalgo Metro stop, one of the busiest sub way stations in the city’s center.
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