eSIM for Quito

A monument complex 26 kilometers north of Quito marking the equatorial line as measured by an 18th-century French expedition. The yellow-painted central monument stands over the equatorial line, with a small ethnographic museum inside and a planetarium on the grounds.

The colonial center of Quito, a UNESCO World Heritage district stretching from the Plaza Grande to the Basilica del Voto Nacional. The compact stone streets contain 17th-century monasteries, the Presidential Palace, and the gold-leaf altar of the Compañía de Jesús church.

A cable car rising from the western edge of Quito to the Cruz Loma lookout at 4,050 meters above sea level. The 10-minute ascent overlooks the entire city and the surrounding Andean volcanoes, with walking trails at the top leading toward the Rucu Pichincha summit.

A neo-Gothic basilica begun in 1892 on the northern edge of the Old Town, distinguished by stone-carved animals from Ecuadorian fauna including iguanas, tortoises, and armadillos replacing traditional gargoyles. The central tower can be climbed for a 360-degree view of Quito.

A high-altitude national park surrounding the active Cotopaxi volcano 50 kilometers south of Quito. The park contains páramo grasslands, glacial lakes, and the historic José Ribas refuge at 4,800 meters used as a base camp for climbers attempting the 5,897-meter summit.

A restored colonial street in the Centro Histórico, closed to vehicle traffic on weekends and lined with traditional music venues, craft shops, and small restaurants. The cobblestone pedestrian stretch is one of the most photographed streets in the historic center.

A 65-hectare urban park in the modern La Carolina district with jogging paths, a small lake with paddle boats, a botanical garden, and the Vivarium reptile exhibit. The park is the central green space of Quito's modern business district.

A museum complex in the eastern suburbs of Quito dedicated to the work of Ecuadorian painter Oswaldo Guayasamín, housed in his former home. The collection focuses on his indigenous and colonial abuse themed murals from the 1960s and 1970s alongside his later abstract works.