Financial Decisions Driven More by Emotion Than Logic: MIDE

After nearly two decades as a global reference in economic education, Mexico’s Interactive Museum of Economics (MIDE) has entered a new chapter. Rafael Chontal, Public Relations Director, MIDE, says the museum’s comprehensive renovation reflects a deeper transformation shaped by post-pandemic realities, generational change, and a redefinition of what financial education looks like today.

Following its reopening after COVID-19, MIDE faced a challenge shared by many cultural institutions: visitor numbers did not return to pre-2019 levels. “It was difficult to recover the number of visitors we had before the pandemic,” Chontal explains. That challenge became the catalyst for the museum’s first end-to-end renovation. While MIDE had regularly updated technology and hosted temporary exhibitions, it had never fully reimagined the visitor experience.

The shift was not only about attendance. “The young people who visit us today are not the same as those who came in 2006,” Chontal says. Early visitors are now parents, and new generations engage through different stimuli, languages, and emotional frameworks. Touchscreens and digital novelty, once central, are no longer enough. “We want to step away from screens sometimes and live a different kind of experience.”

Since its founding, MIDE’s mission has been to bring economics and finance closer to the public. “We understand economics as the science of decision-making,” Chontal says. “From the moment you wake up until you go to sleep, you are making economic decisions, whether you use a car, ride a bike, or take public transport.” The museum’s original goal was to show that concepts like budgeting, saving, investing, and credit are part of everyday life, not reserved for experts or the wealthy.

That mission has evolved. Financial education is now ubiquitous, from banks and fintechs to influencers and social media. Chontal explains that MIDE needed a decisive shift toward behavioral economics and emotional learning. The new exhibits focus on what drives financial behavior before numbers even appear—what emotions trigger spending, what influences financial choices.

This approach is evident in the “Financial Secrets” exhibit, where visitors anonymously share personal money-related experiences that are transformed into art installations by female collage artists. Confessions range from debt caused by impulsive purchases to hidden household financial realities. “We are talking about money and financial stress from a human perspective,” Chontal says. “The first step to addressing a problem is expressing it.”

“When you read them, you immediately recognize yourself,” Chontal adds. Some notes reveal stress, others humor or contradiction. One reads: “I buy expensive things for my dog, but sometimes I do not have money to sleep comfortably. I do not care.” Others confess credit card struggles or hidden spending habits. “You can feel the emotional load—and that is exactly the point.”

MIDE itself has transformed. Once sober and subdued, the museum is now vibrant, colorful, and immersive. Typography is oversized, illustrations dominate, and lighting is warmer. “The economic problem has not changed—scarcity, inflation, opportunity cost, and the need to understand their implications are still there,” Chontal says. “What we changed is how we communicate them.”

Inclusivity guides the museum’s design. From illustrations and color contrasts to accessible language and representation, MIDE emphasizes that economic participation is universal. “It is important for us to communicate that everyone is part of the economy and that our decisions matter,” Chontal says.

This year, MIDE is preparing for the FIFA World Cup, with Mexico City as a host city. The museum sees the event not just as a sporting spectacle, but as a cultural and economic gateway. “It is a World Cup year, and MIDE cannot be disconnected from that,” Chontal explains. “Football is part of everyday life for millions of people.”

A temporary exhibition will use football to explore broader economic dynamics, from consumption and identity to globalization and public spending. The project is part of FIFA’s Host City cultural corridor in Mexico City. “We want to use football as a pretext,” Chontal says, “to invite fans and non-fans alike into conversations about how the economy shapes daily life.”

MIDE occupies a historic building in Mexico City’s Historic Center. “We are very proud of our building,” Chontal says. “It is more than 300 years old and one of the most iconic in the Historic Center. Having this as our home gives us enormous pride.” Rather than treating it as a closed museum shell, MIDE has opened parts of the building to the public. Visitors who do not buy tickets can explore a historical timeline of the site, reinforcing the idea that economics belongs to everyone.

Technology remains central, but it is now integrated with emotion and play. The new museography features large-scale illustrations, holographic mirrors that detect movement, hand-painted figures, and immersive lighting. Screens are still used, but they are no longer the dominant language. “Before, everything was a screen,” Chontal notes. “Now, the experience is much more varied.”

Visitors are greeted by a robotic dog named Can-X, which explains artificial intelligence and its role in economic processes. The goal is to change mindsets from the moment visitors enter. “If you arrive thinking ‘economics is boring,’ the robot already puts you in a different mood.”

MIDE has also embraced the realities of digital life and fintech adoption. Rather than focusing narrowly on digital banking, the museum develops content around “digital life”: how identity, consumption, privacy, and money intersect online. Past initiatives include programs on cybersecurity habits and “financial meditations” developed with Nubank. “Money is no longer something you physically see,” Chontal notes. “It is cards, transfers, and apps—and that changes behavior.”

As MIDE approaches its 20th anniversary, it seeks to continue its global financial education legacy. “We now compete not only with other museums,” Chontal says, “but with Netflix, gaming, and streaming platforms.” Strengthening digital presence, diversifying audiences beyond school visits, and remaining culturally relevant are top priorities.