Most of the monuments that you can see in Gran Canaria date from the period after the conquest, although it has been possible to preserve certain archaeological sites that relate to the earlier inhabitants of the island. The Gothic architectural style was the first to be introduced into Gran Canaria (in the 15th century), the cathedral of Santa Ana in the capital being an example of the style in question. Gothic-Mudéjar influences can also be found in constructions that date from the 16th century, such as in the church of San Juan Bautista in Telde. The 17th and 18th centuries represented the golden age of the Baroque period, which was also marked by Mudéjar influences. The churches of Santo Domingo and San Telmo in Las Palmas de Gran Canaria are examples of this style.

The island architecture took on a new appearance in the 19th century, which was brought about by the liberal thinking of the bourgeoisie. This new style is exemplified by what is today the 'Gabinete Literario' (the literary forum building) in Las Palmas de Gran Canaria. Modernism arrived with the 20th century, giving way to Rationalism in the thirties. One of the outstanding exponents of the latter style was Miguel Martín Fernández de la Torre, who designed the façade of the Island Council building as well as the Parador de Tejeda. Some of the more recent constructions that stand out are the interior of the Centro Atlántico de Arte Moderno, a modern art gallery, by Sáenz de Oiza, and the Alfredo Kraus Auditorium by Óscar Tusquets.

The church of San Juan in Telde is one of the major points of reference when in comes to analysing sculpture in Gran Canaria between the 16th and 18th centuries. Some of these sculptures can be found outdoors such as the crucifix (Crucificado), which was sculptured in Mexico or the carved altarpiece both of which are housed in the basilica of the aforementioned municipality of Gran Canaria.

In the era influenced by the Baroque movement, importations from the Indies prevailed. José Luján Pérez (1756-1815) lent his name to the school of the same name (1918), which produced great authors of this century and which gave rise to Canarian identity. From this trend were born terms such as Indigenismo (indigenous movement), used by Felo Monzón who was later to become the school’s greatest ideological exponent.

The figures based on abstract concepts, which were carefully elaborated with scrap iron and industrial scrap by Tony Gallardo, opened a new stage in the decade of the sixties in the 20th century, an era that precedes contemporary creators such as Martín Chirino, who replaced abstract art with public sculpture and who created the Lady Harimaguada in the capital city of Gran Canaria.