The two AbiquiÚ moradas are clearly parallel in their architectural design (including the constricted chancels), in their artifacts—especially bulto identities such as Jesus (Cristo, Nazareno, Ecce Homo, Santo NiÑo de Atocha), Mary (Dolores, Immaculata ConcepciÓn, Soledad, Guadalupe), Saint John of Nepomuk, Saint Peter, and death—and lastly, in the ceremonies held in the buildings, which link rather than separate the penitente movement and the common social values of Hispano culture.

Edmonson uses six institutional values to define Hispano culture.[78] All six can be found in the penitente brotherhood. "Paternalism" is found in the relation of the members-at-large to the officers and of all the penitente brothers to Nuestro Padre Jesus, "Our Father Jesus." "Familism" is reflected in the structure of the penitente organization and especially in the extension of its social benefits to the entire community. "Dramatism" is an essential ingredient of penitente ceremonies such as the tinieblas. "Personalism" is revealed in the immediate and individual participation of all members in penitente activities. "Fatalism" is the focus of Holy Week and of funerals and is personified by the muerte figure in each morada.

Finally, Edmonson cited "traditionalism" as definitive of Hispano culture, a characteristic that is clearly evident in the penitente forms of shelter, ceremonies, and artifacts. These commonplace objects and activities had been established at AbiquiÚ before and during the period of morada building and furnishing. Literary and pictorial documents presented in this study of AbiquiÚ and the penitente moradas reveal that their physical structure, furnishings, membership, and the brotherhood itself are related intimately to, and drawn from, the traditional and persistent Hispanic culture of New Mexico.