80 Best Sights in Havana, Cuba

Cuba's Cervantes Prize–winning novelist, Alejo Carpentier, may have borrowed from St. Augustine when he described the city's cathedral as "music made into stone," but the words—like the bells in the structure they describe—ring true and clear. Work on the church was begun by the Jesuits in 1748, who weren't around to see it finished in 1777. (King Carlos III of Spain expelled the Jesuits from the New World in 1767). The facade is simultaneously intimate and imposing, and one of the two towers is visibly larger, creating an asymmetry that seems totally natural. The two bells in the taller, thicker tower are said to have been cast with gold and silver mixed into the bronze, giving them their sweet tone. In Our Man in Havana, Graham Greene describes the statue of Columbus that once stood in the square as looking "as though it had been formed through the centuries underwater, like a coral reef, by the action of insects." This is, in fact, exactly the case: coral, cut and hauled from the edge of the sea by slaves, was used to build many of Havana's churches. Look carefully and you'll see fossils of marine flora and fauna in the stone of the cathedral.

Havana's famous Malecón, sheltered by a sea wall, runs west for 7 km (4 miles) from La Punta (where it's also known as Avenida Antonio Maceo) and the harbor's entrance to the Santa Dorotea de Luna de la Chorrera fortress, near the mouth of the Río Almendares. Although it was designed in 1857 by a Cuban engineer, it wasn't built until 1902, thanks, in part, to the American capital that flowed to the island after the Spanish-American War. Once an opulent promenade flanked by brightly painted houses, the Malecón today is dark and dilapidated, the houses crumbling, and the wide limestone walkway broken and eroded. Yet it still has its charms. As it faces north, it offers spectacular views of both sunrise and sunset—perhaps accounting for the belief that there's not a single habanero who hasn't professed love eternal here at one time or another. Crashing waves and the rainbows created from their spray and the sun adds to the Malecón's magic.

As you walk, look for rectangles carved into the stone. These were once (and are still used as) sea baths, which fill at high tide and allowed people to splash about, safe from both currents and sharks. Just west of the Hotel Nacional you'll come to Monumento alMaine, honoring the 260 American sailors killed in the 1898 explosion of that U.S. warship, which was visiting Havana in a display of American might. The event lead to what the United States calls the Spanish-American War (for Cubans this was the final stage of their War of Independence, which began in 1868) followed by a period of heavy U.S. involvement in Cuban affairs. A plaque dedicated by the Castro government here reads: "To the victims of the Maine, who were sacrificed by imperialist voracity in its eagerness to seize the island of Cuba."

Even those convinced that they've outgrown their thirst for Hemingway will feel a flutter of youthful romanticism on a visit to Finca Vigía (Lookout Farm), the American Nobel Prize–winner's home from 1939 to 1961. The excellent guides will show you his weight charts—faithfully kept on the bathroom wall and never varying much from 242.5 pounds—a first edition of Kenneth Tynan's Bull Fever by the toilet; the lizard preserved in formaldehyde and honored for having "died well" in a battle with one of Hemingway's five-dozen cats; the pool where Ava Gardner swam naked; Hemingway's favorite chair (ask about what happened to people who dared sit in it); his sleek powerboat, El Pilar; and much, much more.

Batista's Palacio Presidencial, unsuccessfully attacked by students on March 13, 1957, was converted into the Museum of the Revolution after Castro's 1959 victory. The Russian tank outside was used by Cuban forces to repel the Bay of Pigs invasion. The marble staircase and the magnificent upstairs ceiling mural tell one story, while galleries with displays of items from colonial times to the present tell another; the contrast is effective. Photographs of tortured revolutionaries, maps tracing the progress of the war, the bloodstained uniforms of rebels who fell in the 1953 Santiago de Cuba Moncada Barracks attack, and photos of Fidel and Che complete a comprehensive tour of the Revolution's history.

Don't miss Cretin's Corner for a look at some familiar faces.

Housed in an elegant 18th-century mansion, this is one of Havana's best museums. A stop here provides a look at the history of Cuba's sugar industry, as well as the insides of a rum distillery—including a model central (sugar mill) with miniature steam engines—and the craftsmen (such as the coopers, or barrel makers) who were a part of it. Your ticket includes a guided tour, rum tastings, and the opportunity to take photos. The Havana Club shop is a good place to stock up on a few bottles, while the attached bar is great for an after-tour mojito.

Havana's fine-arts museum occupies two separate buildings, each of which deserves careful exploration. The original location on Calle Trocadero, finished in 1954, occupies the site of what was once a market. Designed by Alfonso Rodríguez Pichardo, the building, a compact prism with a large central courtyard, seems to breathe light. It now contains a varied and exciting Cuban collection. The third floor has 16th- to 19th-century colonial religious paintings, portraits, landscapes, and street scenes. Rooms 3 and 4 follow the 1927–38 beginning and consolidation of Cuban modern art. On the second floor, in rooms 5–8, are works by artists from the 1950s to 1990s. The power, color density, and intensity of Cuban painting is extraordinary, as is the rush through 500 years of history—from Armando Menocal's chained Columbus embarking for Spain in 1493 to Servando Cabrera Moreno's Guernica-like depiction of the 1961 Bay of Pigs invasion and beyond to more contemporary pieces. Paintings to look for include the sensual El Rapto de las Mulatas by Carlos Enríquez, Gitana Tropical (sometimes known as the "Cuban Mona Lisa") by Victor Manuel Garcia, Maternidad by Wifredo Lam, Recibido en Mal Estado by Zaida del Río, and Mundo Sonádo by Tonel (Antonio Eligio Fernandez).

This plaza in upper Vedado may seem grandiose and soulless, but it has several monuments with a lot of heart. Since the Revolutionary victory of 1959, it has been the official parade ground for events ranging from the annual May Day celebration to masses celebrated by Popes John Paul, Benedict, and Francis. A political, administrative, and cultural hub, the square is surrounded by army, police, Communist Party, and other ministries. In better days Castro's whereabouts, which were always a mystery, included visits to these government centers, though he was just as likely to be coaching the national baseball team, resting in one of his many secret Havana residences, or off fishing on the Península de Zapata. It's hard to miss the giant etching of Che Guevara on the Ministerio del Interior (Ministry of the Interior) at the plaza's northwestern edge. It bears the words "hasta la victoria siempre" ("always onward to victory"). On the square's western edge, across Avenida Carlos Manual de Céspedes, is the Teatro Nacional, Cuba's most important theater. Other highlights of the Plaza de la Revolución include the Museo Memorial José Martí at its center, the Museo Postal Cubano around the corner from the Ministerio de Comunicaciones (Communications Ministry), and along Plaza de la Revolución's northern edge is the Biblioteca Nacional José Martí, Cuba's largest library.

At the national aquarium, you can learn about many of Cuba's 900 species of fish. Dolphin shows are very popular, and there are also sea lion shows. At the time of writing, the aquarium was open, but undergoing refurbishment.

The restored San Francisco de Paula Church stands in a plaza at the edge of the harbor at the southern end of the Alameda de Paula. Built between 1730 and 1745 as part of what was then a hospital for women, its facade is described as "pre-Churrigueresque," meaning that it was done prior to the popular exuberant baroque style for which Spanish architect José Benito Churriguera is known. The church fell into disrepair in the 20th century, when the adjoining hospital was moved far from the uproarious port. Restored in early 2001 and filled with Cuban art (including a series of crosses by prominent contemporary painter Zaida del Río), the church is now often used as a concert hall and art gallery.

The Asociación Cultural Yoruba provides a close look at African culture. The bigger-than-life orishas (Yoruban deities) on display are all identified and explained in English, French, and Spanish. It is also a place where people still come to pray and give offerings to the various orishas. Depending on the day, you may even get to witness a Santería ceremony or ritual here, which the public are welcome to attend. The association is near the Parque de la Fraternidad Americana, a shady space around a sacred ceiba tree planted in 1928 with soil from each of the free countries of the Americas.

Lying 18 km (11 miles) east of Havana, this tranquil crescent of sand surrounding a quiet lagoon is the first you'll come to along the Playas del Este. This is about as natural as they come, with a scattering of palm trees for shade and a few locals who will offer to catch some fresh fish and cook it for you or scale a tree to get you a coconut. Coral reefs and an 18th-century Spanish galleon lie far off shore, meaning that you'll occasionally see scuba-diving excursions here, too. Look for the Villa Bacuranao, hidden by rocks and trees, at one end of the beach, a quiet two-star resort with a swimming pool, restaurant, and inexpensive basic rooms to rent. Amenities: food and drink. Best for: solitude; swimming.

Along Plaza de la Revolución's northern edge is the National Library, which, with 2 million volumes, is Cuba's largest. You must call in advance to book tours of the building.

This newly opened café, housed in a beautiful old colonial building, complete with original tiles, is quickly becoming one of Havana's best coffeehouses. The rich coffee aromas waft halfway down the street, and inside the sound of bubbling percolators is complemented by cloth coffee bags, old coffee trade maps, and photos of coffee farmers covering the walls. As well as coffee anyway you want, the café also serves snacks such as sandwiches, ice creams, and salads.

This is a great place to buy some freshly roasted Cuban coffee beans to take back home with you.

This neighborhood project, directed by and featuring the painting (note the vivid street murals) and sculpture of Salvador Gonzalez Escalona, is an ongoing Afro-Cuban educational and artistic event. All the quirky sculptures you see here have been made out of recycled materials---look for the story of Saint-Exupéry's Little Prince, which has been painted into an array of bathtubs at the far end of the street. Afro-Cuban music groups Rumbo Morena and Eroso Obba perform here every Sunday from noon to 3 pm, enthusiastically watched by locals and tourists alike.

Modeled after Washington, D.C.'s domed Capitol building, Havana's Capitolio was built in 1929 and is rich in iconography. The statue to the left of the entrance stairway represents Work (considered a masculine ethic); that on the right is of Virtue (a perceived feminine attribute). Some 30 bas-reliefs on the main door depict events in Cuba's history. The giant main hall is called the Salon de los Pasos Perdidos (Hall of the Lost Steps), allegedly for the fading reverberations of footsteps. It's dominated by the gigantic bronze statue of Minerva (once known as La República). Set into the floor at her feet is a diamond (presently a replica) from which all distances on the island are measured. The former Senate Chamber is at the end of the right-hand corridor; the one-time Chamber of Representatives is on the far left. The on-site restaurant, El Salón de los Escudos, serves a reasonable lunch; the Café Mirador offers lighter fare. The building seems to be undergoing perpetual renovation.

This house is named for the obra pía (pious work) with orphans that was carried out here in colonial times. Its elaborately wrought Baroque doorway is thought to have been carved in Cádiz around 1686. The architecture of the interior patio is based on North African fondouks (inns) and, later, of Spanish corralas (patios). There's much to see here: arches of different sizes and shapes, vases decorated with paintings by Spanish painter Ignacio Zuloaga, as well as a collection of old sewing machines and needlecraft paraphernalia.

The Alejo Carpentier artifacts (including the car he used in Paris) are still there, but locked up in a special room that you must get permission ahead of time to see.

On January 28, 1853, Cuba's padre de la patria (father of the nation), José Martí, was born of Spanish parents in this humble house. When a child he prophetically announced, "Five generations of slaves must be followed by a generation of martyrs." At age 15 he wrote a newspaper piece judged treasonous by the Spanish governors, and after time in a Havana prison followed by exile to the Isla de la Juventud, he was exiled to Spain, where he later studied law. Martí then spent 14 years in the United States, working as a newspaper reporter. Three volumes of poetry and several books of essays established him as the most brilliant Latin American writer and political analyst of his day.

Martí's words stirred both moral and financial support for Cuban independence. In mid-April 1895, as part of a revolutionary plan that was months in the making, Martí joined General Máximo Gómez on Santo Domingo (Dominican Republic). The two set out for Eastern Cuba, where General Antonio Maceo awaited them. A month later, on May 19, 1895, Martí became one of the first casualties of the Second War of Independence, when he charged, mounted on a white steed, into a Spanish ambush during a battle at Dos Ríos. His lyrics in "Guantanamera," are premonitory: "Que no me entierran en lo oscuro / a morir como un traidor / yo soy bueno y como bueno / moriré de cara al sol." ("May they not bury me in darkness / to die like a traitor / I am good, and as a good man / I will die facing the sun.") The memorabilia in this museum range from locks of the young Martí's hair to the shackle he wore around his ankle as a prisoner to letters, books, and poetry. Look for the martyr's spurs and ammunition belt, a rare 1893 photograph of Martí with Máximo Gómez in New York, and another of the Manhattan office on Front Street where he worked on the Cuban independent newspaper Patria.

Constructed in 1558 by order of Spanish king Felipe II three years after an earlier fortress was destroyed by the French pirate Jacques de Sores, this classic, moat-enclosed fortress was the residence of the local military commanders until 1762. The tower, added in 1632, is topped by the famous Giraldilla (weather vane), a nod to the one atop the Giralda minaret in Seville, the city whose Casa de Contratación (House of Trade) oversaw financial and shipping operations between Spain and its territories in the Americas. Havana's favorite symbol—it's even on the Havana Club rum label—the Giraldilla honors Doña Inés de Bobadilla, Cuba's lone woman governor, who replaced her husband, Hernando de Soto, when he left to conquer Florida (and search for the Fountain of Youth) in 1539. De Soto and his expedition went on to explore much of North America and were among the first white men to cross the Mississippi River. He died in 1542, but Doña Inés spent years scanning the horizon, awaiting his return. The current Giraldilla is a copy of an earlier bronze one toppled by a hurricane and now on display in the Museo de la Ciudad de La Habana. Today the museum houses an exhibition on Cuban navigation, dating from 1577 to today. On display are miniatures of the galleons that once passed through the island with gold coins, treasures, and documentation of maritime life over the centuries.

Begun in 1589, Havana's landmark fort is named for the Reyes Magos—the Magi or Three Kings of Bethlehem, who are the patrons of its chapel—and for the fact that it occupies a morro (promontory) at the harbor entrance. It and its sister fort across the way, La Punta, made Havana the safest port in the Americas at a time when both pirates and imperialists helped themselves to whatever could be had. Built into cliffs, El Morro was furnished with a battery of 12 cannons christened La Batería de los Doce Apóstoles (The Battery of the Twelve Apostles) facing the sea and another dozen, called Las Pastoras (The Shepherdesses), nearer the ramparts. The active lighthouse flashes its beam over Havana every 15 seconds. Inside the castle, across a moat and drawbridge, are stables, the chapel, dungeons, and a wine cellar. You'll also find the fortified vaults, which contain the Museo del Morro, with displays on the fortress itself; the Museo de la Navegación, with navigation and seafaring artifacts; and the Museo de Piratas, with exhibits and bits of folklore on pirates. The armory displays weapons from around the world.

In 1762 Lord Albemarle took El Morro for the English after a 44-day siege. A year later, Carlos III recovered Cuba in exchange for Florida and promptly ordered the construction of what was then the largest fort in the Americas. Sprawling across the hill east of El Morro, the fortress was named for the Spanish king and for the typical Cuban cabanas or bohíos (cabins) that once occupied the site. With the capacity to house 1,000 troops, this immense bastion was said to be so big that Carlos was given a telescope with which to admire it from Madrid.

The infamous Foso de los Laureles (Graveyard of the Laurels) was the execution wall where hundreds died during the wars of independence. The 9 pm ceremonia del cañonazo (ceremony of the cannon shot) is a must-see event filled with nostalgia and mystery. First, a lamplighter lights the gas lanterns. Then, a crier (a recruit with a voice so good he's been signed on permanently even though his military service ended years ago) begins an eery plainsong chant that reverberates throughout the fortress and, when the wind is right, across the bay to La Punta: "Silencio; ha llegado la noche / Las luces están encendidas / Nuestro cañon se llama Capitolino / A las nueve sonará" ("Silence; night has fallen / The lanterns are lit / Our cannon is named Capitolino / At nine it will sound"). Finally, a detail of some half-dozen soldiers dressed in scarlet 18th-century uniforms marches in and loads and fires the cannon, which makes a deafening noise (cover your ears).

La Cabaña's two museums are of moderate interest. The Museo de la Cabaña documents Cuba's military history, and the Museo del Che is dedicated to the life of Ernesto "Che" Guevara, who ranks alongside José Martí as one of Cuba's national martyrs.

On a point (hence, the name) directly across from El Morro, La Punta took 11 years to build (1589–1600), under the supervision of the same Italian military engineer—Juan Bautista Antonelli—responsible for its sister fortress. The two forts are so close, it's said that voice communication is possible in calm weather. In the early 17th century, a heavy chain was stretched between them, sealing the port at night and during attacks. Today the fortress has an even more romantic role in the city's unfolding drama: it's a favorite spot for lovers. At the time of writing, it was closed to the public due to ongoing renovations, but walking around the outside still makes for an impressive view.

Dedicated to and named for the great Cuban Surrealist painter Wifredo Lam, who was known as the Cuban Picasso, this gallery and museum is just behind the Catedral de la Habana in the elegant, 18th-century Casa del Obispo Peñalver. The center hosts temporary shows with works by contemporary Cuban and South American artists. Lam, born in 1902, studied in Spain and fought with the republic against Franco. He later fled to France, where he was influenced by Pablo Picasso, Georges Braque, and the poet André Breton, among others. He returned to Cuba to support the Revolution, and later returned to Paris, where he died in 1982. His best works hang in the Cuban collection of Havana's Museo de Bellas Artes.

The fishing village Hemingway described in The Old Man and the Sea is modeled after this sleepy maritime hamlet where the author's wooden sportfishing craft, El Pilar, was berthed. El Torreón, the small fortress built here after the English used Cojímar as a landing point in their 1762 attack on Havana, is the site of a Hemingway bust made of brass boat propellers donated by Cojímar fishermen.

Wander around town; Gregorio Fuentes—Hemingway's skipper and pal from 1935 to 1960—once lived at Calle Pezuela 209. Gregorio provided Hemingway with a great deal of inspiration. The writer, having based the novel on the then thirtysomething Gregorio, was at a loss for a title until Gregorio shrugged and commented that, as far as he could tell, it was just about "un viejo y el mar" ("an old man and the sea").

Down the small side street of Callejón del Chorro, just off the Plaza de Catedral, you'll find the cute Bianchini café and bakery. With its funky red walls, glass chandeliers, and mismatched shabby-chic furniture, it's the perfect stop to refuel with a coffee and a sweet treat. Very different from Havana's usual fare of sponge cakes laden with layers of multicolor cream, owner Katia Bianchini has taken inspiration from her Swiss and Italian ancestors to create a range of homemade cookies, cakes, and muffins. The chocolate soufflé is a must-try. Another branch of the café is at Calle Sol 12.

Built in 1930, the former Bacardí rum headquarters (the family elected not to brave the Revolution and now makes rum in Puerto Rico) is an Art Deco outburst best admired from the roof of the Hotel Plaza across the street. Its terra-cotta facade is covered with nymphs, sylphs, salamanders, and undines; its bell tower is capped with a brass, winged bat you'll recognize from the Bacardí rum label (or from the coat of arms of the House of Aragón, a clue to the family's Catalonian heritage). Visitors can't go inside, but it's worth a look at the outside nonetheless.

Sometimes referred to as El Cristo de Casa Blanca for the eastern Havana municipality above which it stands, the 18-meter (59-foot) Carrara-marble colossus by Cuban sculptress Jilma Madera is said to be the largest open-air sculpture ever created by a woman. It was unveiled in 1958, a year before the Revolution and a year after the student assault on Fulgencio Batista's Palacio Presidencial. It's said that Batista's wife, praying for her husband to escape the shootout alive, vowed to erect a statue of Christ like that in Rio de Janeiro if her prayers were answered. Batista survived, and the statue was built while he tortured and murdered political opponents—especially students—with renewed brutality. For this reason, there's a certain official coldness toward the site. Certainly the sculpture itself is less interesting than the views (from its base) of the harbor and La Habana Vieja and the ambience of the park—a popular local picnic spot—that surrounds it.