Recorrido por Medellín: Parque de San Antonio, Plaza Botero, Palacio de la Cultura y Comuna 13

Medellín, an UNESCO Creative City

A Medellín city tour with Comuna 13 gives you the most complete version of one of the most discussed urban stories in the world. Medellín was, for much of the late 20th century, the city most associated internationally with drug violence — the headquarters of Pablo Escobar’s cartel, the site of political assassinations, and by 1991, the city with the highest murder rate on earth. Today it is a finalist for UNESCO Creative City of Design, has won multiple international awards for urban innovation, and receives hundreds of thousands of tourists annually who come specifically to understand how the transformation happened. This private tour is built around exactly that question — not as a dark tourism exercise, but as a genuine encounter with the institutions, public spaces, and communities that rebuilt a city.

San Antonio Park

The tour starts in Medellín’s historic centre, which is where the city’s formal public identity is most concentrated. San Antonio Park is an open-air gallery anchored by several of Fernando Botero’s bronze sculptures — the oversized, voluminous figures that became his signature style and one of the most recognisable visual languages in contemporary Latin American art. Botero was born in Medellín in 1932 and maintained his connection to the city throughout his career, donating significant collections of his own work and pieces from his personal collection to Medellín’s public spaces and museums. One of the sculptures in San Antonio Park has a particular history: in 1995, a bomb was hidden inside it and detonated, killing 23 people. Rather than removing the damaged statue, the city left it in place and added an intact version beside it. Both stand there today — the intact and the destroyed — as a deliberate monument to the violence and the decision to remember it honestly rather than erase it.

Palacio de la Cultura Rafael Uribe Uribe

The Palacio de la Cultura Rafael Uribe Uribe is one of the finest examples of Gothic Revival architecture in South America. Built between 1919 and 1928, it sits at the corner of Plaza Botero and is visually impossible to miss — its chessboard-patterned black-and-white facade is unlike any other building in Colombia. The building was named after a Liberal politician and intellectual who was assassinated in 1914, and it has served as a cultural centre, archive, and exhibition space throughout its history. Your guide covers both the architectural significance and the political context — the building is a physical record of the complexity of Colombian public life in the 20th century.

Plaza Botero

Plaza Botero is the centrepiece of the downtown cultural district. The 23 sculptures Botero donated to the city stand in an open plaza adjacent to the Museum of Antioquia, which holds the largest permanent collection of his paintings and drawings in existence. The plaza is free to enter, designed to be accessible to all Medellín residents, and functions as a genuine public gathering space rather than a cordoned tourist attraction. Your guide explains Botero’s career chronology, his place in the international art world, and the specific decision to site this collection in the city’s most public space rather than behind museum walls.

Comuna 13

The transition to Comuna 13 is where the tour changes register. The neighbourhood — officially the San Javier district on the western hillside of the Aburrá Valley — was for years the site of territorial conflict between guerrilla groups, paramilitaries, and drug trafficking organisations. In October 2002, the Colombian military conducted Operation Orion, a large-scale urban operation to remove the armed groups from the neighbourhood. The operation succeeded militarily but left deep wounds in the community, and the years that followed saw residents begin the process of reclaiming their streets through art, music, and collective organisation. The outdoor escalators installed in 2011 — connecting the hillside to the city below and reducing a 30-minute walk to a 6-minute ride — were one of the physical manifestations of the city’s investment in the community. The murals followed: massive, technically accomplished works that cover entire building facades and tell the neighbourhood’s story in its own visual language.

The Graffiti Tour

The graffiti tour through the neighbourhood is led by your guide and takes you into the streets where this process is most visible. The murals range from indigenous cosmology to portraits of community figures to abstract work by artists who have become internationally recognised. Local street artists are often present, willing to talk about their work and their neighbourhood. The warmth of the community toward visitors who engage genuinely — rather than treating the neighbourhood as a spectacle — is one of the consistent observations of people who do this tour rather than the alternatives that keep you at a distance.