MONA (Museum of Old and New Art) in Tasmania is more than just an art museum—it is a provocative, immersive, and culture-shifting phenomenon that has redefined how Australians and the world experience contemporary creativity. Located just outside Hobart, this subterranean marvel carved into a sandstone cliff is the brainchild of David Walsh, a professional gambler with a radical vision. Opened in 2011, the museum rapidly became Tasmania’s most visited attraction, drawing more than 400,000 visitors annually and placing the once-quiet island state at the heart of international cultural tourism (MONA, Tourism Tasmania, Australia.com).
David Walsh invested over AUD 75 million of his fortune to create a space that would challenge conventional thinking. He described MONA as a “subversive adult Disneyland,” where themes of sex, death, and existential dread are not just acknowledged but boldly celebrated. This disruptive curatorial philosophy has made MONA not just a museum but a cultural revolution. Unlike traditional art galleries, MONA does away with plaques and guidebooks. Instead, visitors are given “The O”—a custom device that provides real-time, interactive insights into each piece, enhancing engagement while allowing for subjective exploration (National Gallery of Victoria, Art Almanac, Art Gallery NSW).
Exhibitions are immersive and often controversial, ranging from Wim Delvoye’s Cloaca Professional (a machine that simulates human digestion) to live ritual performances using animal carcasses. MONA’s exhibitions are not for the faint-hearted, but they are deeply thought-provoking. The museum’s labyrinthine, underground structure adds to the mystique, guiding visitors through corridors of shadow and wonder. Events like Dark Mofo, MONA’s winter solstice festival of fire, music, and performance, draw over 120,000 attendees each year and have solidified Tasmania’s reputation as Australia’s capital of avant-garde expression (Dark Mofo, ABC Arts, Visit Hobart).
The economic and social impact of MONA (Museum of Old and New Art) in Tasmania has been nothing short of transformative. According to Deloitte Access Economics, MONA generates over AUD 134 million annually for Tasmania’s economy, supports more than 1,000 full-time-equivalent jobs, and has catalyzed growth across accommodation, food, and transport sectors. The once-sleepy Hobart waterfront is now dotted with boutique hotels, award-winning restaurants, and creative businesses inspired by MONA’s fearless ethos (Deloitte Australia, MACq 01 Hotel, The Henry Jones Art Hotel).
From its architectural brilliance—designed by Nonda Katsalidis—to its commitment to irreverent beauty, MONA continues to disrupt, inspire, and expand the very idea of what a museum can be. It is not just a destination but a transformation of place and perception. MONA is a bold reminder that art, when unchained, can reshape a region, an identity, and perhaps even a way of being in the world.
The Radical Vision Behind MONA’s Creation
David Walsh: A Maverick Behind the Museum
David Walsh, a professional gambler turned philanthropist, is the controversial genius who founded MONA (Museum of Old and New Art) in Tasmania in 2011. His goal wasn’t simply to house art but to challenge institutional norms. With an investment of over AUD 75 million of his own fortune, Walsh envisioned a museum where confronting the audience was more important than pleasing it. He called MONA a “subversive adult Disneyland.”
The Birth of a Cultural Revolution
Built into a sandstone cliff on the Berriedale peninsula, MONA spans 6,000 square meters underground. Its dark corridors and labyrinthine layout create an anti-establishment ambiance that reflects Walsh’s disdain for traditional museum norms. The museum’s opening marked a turning point for Hobart’s cultural identity, attracting global curiosity.
Philosophy Meets Provocation
The curatorial philosophy of MONA (Museum of Old and New Art) in Tasmania centers on existential themes—sex, death, decay, and belief. It’s meant to provoke. Instead of descriptive plaques, visitors receive an iPod-like device called “The O,” loaded with explanations, artist interviews, and even Walsh’s irreverent thoughts.
Private Funding, Public Access
MONA is Australia’s largest privately funded museum. Despite its private status, it operates with public spirit. Entry was initially free for locals—a move Walsh believed would democratize access to high culture. In 2022, the museum saw over 400,000 visitors, 65% of whom were interstate or international travelers.
A Catalyst for Tasmania’s Image Shift
Once known more for wilderness than culture, Tasmania is now synonymous with avant-garde art, thanks to MONA. Tourism Tasmania reported a 30% increase in cultural tourists between 2011 and 2021. MONA became a beacon of transformation, pushing Tasmania onto the global arts stage.
An Economic Game Changer
In 2019, MONA generated approximately AUD 134 million in annual economic benefit for Tasmania, according to Deloitte Access Economics. The museum employs over 300 people, directly or indirectly. Its impact on hospitality, transport, and accommodation industries is measurable and transformative.
Future Directions in Walsh’s Vision
David Walsh has hinted at future expansions, including a library and a night museum. His ultimate aim? To make people question their beliefs and assumptions—not just about art, but about life itself. MONA continues to evolve, never static, forever rebellious.
Immersive Exhibits That Defy Convention
Challenging the Viewer: No Comfort Zone
The exhibits at MONA (Museum of Old and New Art) in Tasmania are deliberately confronting. Works like Wim Delvoye’s Cloaca Professional—a machine that mimics the human digestive system—push the boundaries of what art can be. This raw and sometimes repulsive presentation forces viewers to confront uncomfortable realities.
The Art of Death and Decay
Greg Taylor’s “Cunt and Other Conversations” and Julia deVille’s taxidermy sculptures of dead animals evoke deep contemplation about mortality. At MONA (Museum of Old and New Art) in Tasmania, these works aren’t simply art—they are philosophical provocations that challenge how we think about the body, death, and the sacred.
Technological Innovation in Curation
Rather than traditional wall text, MONA employs “The O” device—custom software that delivers interactive commentary, music, and alternate narratives. Visitors can “love” or “hate” artworks, creating a living database of public reaction. As of 2023, over 3 million data points have been collected, shaping future curatorial decisions.
The Void and Spatial Narrative
The museum’s three subterranean levels create a physical and emotional descent. For example, the lightless space known as “Death Gallery” isolates visitors, offering no clear path or explanatory comfort. This spatial manipulation is a key component of MONA’s artistic delivery.
Performance Art and Live Installations
Exhibits often include live elements. In 2022, Austrian artist Hermann Nitsch’s 150.Action performance used animal carcasses and blood to recreate ancient rituals. Though controversial, it drew a sold-out crowd of 1,200 and was defended as essential to MONA’s commitment to pushing boundaries.
Art That Smells, Moves, and Breathes
MONA’s multi-sensory experiences include installations that engage smell and sound. “The Amarna Project” by James Turrell bathes viewers in changing light, while Ryoji Ikeda’s “data.scan” immerses them in digital pulses. These works break the wall between viewer and object.
Curation as Anti-Museum Practice
Curator Jarrod Rawlins describes MONA’s model as “curation by curiosity.” Instead of chronological order, works are grouped by emotional or philosophical resonance. This non-linear approach mirrors Walsh’s belief that life—and art—is not meant to be orderly.
Cultural Impact on Tasmania’s Tourism and Identity
Tourism Reimagined Through Art
Before MONA opened, Tasmania attracted around 700,000 visitors annually. In 2023, that number exceeded 1.35 million, with 30% citing MONA (Museum of Old and New Art) in Tasmania as a primary reason for visiting. This shift has created a booming cultural tourism sector.
Changing Hobart’s Global Reputation
Once considered a sleepy outpost, Hobart is now featured in major publications like The New York Times and Lonely Planet, which listed it among the Top 10 cities to visit in 2013. The success of MONA (Museum of Old and New Art) in Tasmania is widely credited for this reputational transformation.
Hospitality Industry on the Rise
Hobart’s accommodation capacity increased by over 45% between 2011 and 2022. New boutique hotels, such as MACq 01 and The Henry Jones Art Hotel, opened to cater to the influx. Restaurants and cafés, especially in the waterfront precinct, have seen a 60% rise in patronage.
Employment and Cultural Economy
According to Tourism Research Australia, MONA is responsible for more than 1,000 full-time-equivalent jobs, both directly and indirectly. This includes artists, technicians, hospitality workers, and tour operators. Art is no longer a fringe economic activity—it’s a driver.
Educational and Creative Programs
MONA supports education through partnerships with schools and universities. The “MONA Pathways” program engaged over 5,000 Tasmanian students in 2022 alone, using the museum as a platform for interdisciplinary learning in history, science, and philosophy.
Festival of Disruption: Dark Mofo
Initiated by MONA, the Dark Mofo festival brings tens of thousands of visitors each winter. In 2023, over 120,000 people attended the event, which celebrates the winter solstice through art, music, and ritual. This annual event is now integral to Tasmania’s cultural calendar.
Identity Politics and Regional Confidence
The success of MONA has inspired other Tasmanian art initiatives, from local galleries to design markets. More importantly, it has instilled a cultural confidence that Tasmania is not just a natural paradise, but a center of radical thought and creative experimentation.
Events, Architecture, and the MONA Experience Beyond Art
A Subterranean Marvel
Designed by Melbourne-based architect Nonda Katsalidis, MONA’s architecture is a feat of subterranean engineering. The building is carved into Triassic sandstone and descends 17 meters underground. The raw walls remain exposed, enhancing the sense of exploration and primal immersion.
Ferries, Wine, and Arrival Rituals
Visitors often arrive by the MONA ROMA ferry from Hobart’s Brooke Street Pier. The ferry itself is part of the experience—complete with graffiti seats, bar service, and sheep sculptures. Each year, over 350,000 people make this 25-minute journey across the Derwent River.
Moorilla Estate and On-Site Luxury
Attached to the museum is the Moorilla Winery and MONA Pavilions—eight ultra-modern accommodations overlooking the river. Guests can stay on-site, drink wine from the estate’s own vintage, and explore at leisure. In 2022, occupancy rates averaged 92% during peak seasons.
Unforgettable Events: From Nude Solstice Swims to Opera
Events at MONA (Museum of Old and New Art) in Tasmania range from intellectual symposiums to raucous public performances. The annual Nude Solstice Swim attracts hundreds of participants. The museum also hosts live opera, film screenings, and late-night DJ sets.
Feast and Indulgence at MONA
MONA isn’t just visual—it’s culinary. The Source restaurant offers fine dining with a menu that changes daily, while Faro Bar provides Spanish-inspired small plates. In 2023, Faro was included in Gourmet Traveller’s list of Australia’s Top 50 Restaurants.
The MONA Effect on Architecture
The museum’s impact extends to design culture across Tasmania. Architects now reference MONA’s boldness, and new cultural infrastructure—like the Hedberg arts center—bears its influence. MONA set a precedent: cultural buildings can be both provocative and functional.
A 360-Degree Sensory Journey
Ultimately, a trip to MONA is holistic. From its subterranean chambers and wild art to the wine, performance, and architecture, every element is meticulously curated. MONA (Museum of Old and New Art) in Tasmania is less a place than a state of mind—where art, life, and sensation collide.
