It belongs to the Primate Archdiocese of Mexico through the Guadalupana Vicariate, which since November 4, 2018, is in the care of Monsignor Efraín Hernández Díaz, who has the title of general and episcopal vicar of Guadalupe and abbot of the basilica.

The bomb was hidden inside a flower arrangement and placed in front of the image by Luciano Perez Carpio, an employee of the Private Secretariat of the Presidency.

Inside you can see frescoes by the muralist painter Fernando Leal, who was entrusted with narrating the history of the apparitions, and who captures the meeting of cultures and the roots of faith.

The particular hallmark of this small chapel, considered an architectural jewel of the Baroque style, is its shape, since its floor plan is the only one with a circular or central base built during the 18th century that is preserved in Mexico.

With the creation works of the Atrio de las Américas in the 1950s, the temple went from being immersed in the urban layout to being isolated from it, as it is seen today.

The Convent and Parish of Santa María de Guadalupe – Capuchinas is a temple located on the eastern side of the Templo expiatorio a Cristo Rey.

It was designed by the architect Ignacio Castera, on land donated by Salvador Beltrán, and built between 1792 and 1797, it was occupied by Capuchin mothers of Our Lady of Guadalupe.

Throughout the history of the collegiate church has housed the Blessed Virgin of Guadalupe when the temple was closed for any reason, be it reform or remodeling.

The Historical Archive of the Basilica of Guadalupe is a collection of mainly New Spanish documents, divided into three branches: Clavería, Parish and Particular Secretary.

[13] The museum, opened in 1941, in the north wing of Las Capuchinas Convent, houses an important collection of New Spanish art made up of nearly 4,000 cultural assets, many of them unique and unrepeatable, including paintings, sculptures, jewelry, gold and silver work, and others.

In 1749 it received the title of collegiate church, a designation given to certain Catholic temples that allows them to be managed both pastorally and administratively by a group of priests called "cabildo".

Due to the appointment in 1887 of Pope Leo XIII of the Pontifical Coronation of the Virgin, again suffering from the construction on a fragile ground, the collegiate church was intervened again, replacing the altarpiece with a white Carrara marble altar, designed by Juan Agea Salomé Pina and carved by Carlo Nicoli, covered with a canopy of Scottish granite columns weighing 4 tons each and a bronze vault.

It was built due to the need to house the image of the Virgin of Guadalupe and allow access to a greater number of pilgrims, as the old temple was unstable and dangerous.

The new building was designed by the architects: José Luis Benlliure, Pedro Ramírez Vázquez, Alejandro Schoenhofer, Friar Gabriel Chávez de la Mora, Antonio S. Gómez Palacio and Javier García Lascuráin.

Its construction began in 1974 during the abbotship of Monsignor Guillermo Schulenburg, with Odilón Ramírez Pelayo, the lawyer of the Basilica of Guadalupe for many years, in charge of the legal procedures for the acquisition of the land.

Having a circular shape to symbolize the tent that housed the Ark of the Covenant on its march through the desert, the building was built with reinforced concrete for the roof structure, covered with green oxidized copper sheets.

In 1980, Monsignor Guillermo Schulenburg, abbot of the basilica, asked Pedro Medina Guzmán for a mural painting for the tabernacle, which was finished at the end of the same year called "The gift of the Resurrection".

To prevent the settling of the land that occurred in surrounding buildings, this was built using 344 control piles, the work of engineer Manuel González Flores.

As the interior is circular and self-supporting (without supporting members to obstruct the view), the image of the Virgin of Guadalupe can be seen from everywhere inside the basilica.