The "Noblesse du temps" or nobility of time is a sculpture made by the Catalan artist Salvador Dali which was given in the state of Andorrà in 1999 although until 2010 it was not placed in its current place, in the Plaza de la Rotonda of Andorra la Vella. With dimensions of 4'90m in height, 1'70m in depth, 2'60m in length and a total weight of 1400Kg, this sculpture composed of a watch with a crown on a trunk while melting represents the passage of time and according to the artist the dominion of time over humans. If you look closely, we can see 2 characters, one on each side of the clock. One of them is a woman, the one that represents the body, the flesh and the material, instead, the angel symbolizes the spirit, the memory and the intangible.

Reinterpretation of the bust of Nefertiti, the great royal wife of Akhenaten, made by Thutmose in the XVIIIth Dynasty of Egypt. It expresses two fundamental aspects, one from the original bust itself and the other the result of Jordi Díez's personal research. The first seeks to highlight the high evolutionary level of this ancient portrait. The second points out the absence of Nefertiti's eyes, which seems to evoke that she sees beyond the visible.

The Paris Bridge is located over the Valira river, joining Consell d'Europa street and Doctor Mitjavila street. It is a bridge with an avant-garde design, with a hybrid and cable-stayed structure, with two layouts, one straight and the other semicircular. It is 13 m long, with a semicircular branch of 27 m and a radius with curvature of 15m. At the top we can see two large spheres with a diameter of 2.20 m and another of 4 m, which are supported by five tubular structures that form two large triangles.

The Estarell bridge reminds us of a Romanesque style bridge with a single arch; park the vehicle and cross to the other side of the river over the bridge.

A set of sculptures that the Barcelona artist Jaime Plensa calls "Seven poets" was deployed in the Principality of Andorra, with the illusion that inhabitants and visitors raise their gaze instead of lowering it and also stop inside themselves and others, as the pieces have translucent backgrounds and can change color. Plensa explains it this way: "Beauty and the solution are inside each one of us, but they are hidden and it is hard for us to find them". The pieces are seven human figures of between 2 and 3 meters. They were seated at a height of 12 meters, looking towards the mountains of the site. The translucent background produces the color changes during the night. For Plensa, this results in a permanent "conversation" between the figures because, he said, each color is an expression of a different inner state. He hopes that this contrasts with the routines of modern life, which are not prone to reflection, inner search and a serene look to the future.

Andorra la Vella has, among its artistic heritage, numerous contemporary sculptures located in various parts of the parish. Located in the square of the Cierco buildings is Mobili, a sculpture by the Mallorcan artist Miquel Barceló that is part of a collection of eight works scattered in different cities around the world. This unique sculpture represents the origins of human life in the form of an old racing car with a monkey skull appearance.

The "Creu Grossa" is a little below the original site, near the royal road between Andorra la Vella and Escaldes-Engordany. It is a gothic cross from the late 16th or early 17th century. On one side you can admire a representation of Christ nailed to the cross and on the other a maternity.

The 'Maternity' that presides over the courtyard of the Prada Casadet housing complex, like the needle of a clock, like the arrow that marks the north and south, like a weather vane. Another characteristic of Subirà's work is wood and movement. The movement that his constructions give off (and not only metaphorically, but also explicitly, because 'La maternidad' is volatile. It moves. It turns like the needles of time as the wind blows. With harmony. Like one of those giants in Don Quixote, who were not giants but windmills). La maternidad' is one of the many works of Subirà that have ended up becoming public heritage. Street characters. Urban beings. Like so many others... Those pieces of wood -Subirá usually works with material from Gabon, strong and resistant and that gives a luminosity that other woods do not exude- arranged intelligently enough to transcend the real. To impose itself. To awaken feelings. Sensibilities. Emotions. Or, simply, for using it as a compass rose. To know where the wind is blowing from. Subirà-Puig does not give readings of his works. He lets all the spectators do it. He plays, plays and plays, until he finds what he thinks he was looking for. Then he puts an end to his work