The centerpiece of Guillermo Paneque’s installation in La Máquina Española (all works 1990) is a structure that’s half dining-room table—informally set for the family meal—and half tabletop soccer game (what Americans sometimes call “foozball”). Bread and circuses are the subject of this exhibition as well as of a simultaneous one of drawings at Galería Estampa entitled “Holy Hooligan,” in which Paneque profiles the fanatical Spanish “futbol” fan, the game’s domestic, economic, and political prevalence in that culture today, and its relationship to other national pastimes—cocaine, corruption,