MUSA – The Underwater Museum of Art in Isla Mujeres
- Tracy Gunn
- Jul 26
- 13 min read
Updated: Jul 26
A Fusion of Art, Ocean Conservation, and Innovation
In 2005, Hurricane Wilma devastated the reefs surrounding Isla Mujeres. With coral ecosystems heavily damaged, the talk was to shut down the reefs. With the future of local dive tourism uncertain, an innovative solution was born: MUSA, the Museo Subacuático de Arte. Designed to alleviate pressure on natural reefs while creating something extraordinary, this underwater museum has since become one of the most iconic dive and snorkel sites in the world.
It has been an enormous success, to the extent that it has now been replicated in many other countries.
When Reefs Fell Silent: The Need for a New Beginning
Following the hurricane, Dr. Jaime González Cano of CONANP (Mexico’s National Parks authority) proposed an artificial reef system to redirect divers and snorkelers away from the vulnerable reefs of Manchones National Park. The concept was brought to Roberto Díaz Abraham, then-president of the Cancun Nautical Association, who initially collaborated on the project.
The idea evolved into something revolutionary: an underwater art installation that would grow into a living reef, drawing inspiration and guidance from marine biologists, conservationists, and artists alike.
By 2008, Roberto had stepped away from the project, believing it would take too long to flourish and become an attraction. Fortunately, Dr. Jaime persisted. He proposed the idea of underwater statues as artificial reefs to the Nautical Tourism Subcommittee, hoping to draw visitors away from hurricane-damaged areas and mitigate the cumulative impact of large numbers of tourists.
To put it in perspective: the Cancún reefs see over 850,000 tourists each year—comparable to Australia’s much larger Great Barrier Reef.
Where artificial reefs had traditionally come from shipwrecks or other sunken objects, statues were a brand-new concept. They were deliberately designed to evolve into living reefs, growing with their surroundings.
After presenting the idea to the Nautical Tourism Subcommittee (of which Roberto Díaz was a prominent member), the vision of an underwater museum was born. Having researched experienced underwater sculptors, Dr Jaime came across Jason deCaires Taylor, who pioneered this art form in Grenada.
An Environmental Impact Assessment—produced by the National Park staff, Dr. Jaime González Cano, and Roberto Díaz—laid the legal groundwork for the construction of 1,412 artificial habitats across 10 sites over the next 50 years.
The Art of Conservation: Jason deCaires Taylor
Enter Jason deCaires Taylor, a British sculptor. Jason had graduated with honours in sculpture from the London Institute of Art in 1998, and as a SCUBA instructor and underwater photographer, he saw the ocean as a unique canvas. Known for his ground-breaking underwater sculptures in Grenada, Taylor brought a rare combination of artistic talent and environmental understanding to the project.
Jason completed the first four statues, which were submerged in November 2009. By the end of 2010, The Silent Evolution, one of MUSA’s most iconic works with a series of more than 450 life-sized figures, had been installed, and the museum officially opened on November 27, 2010.
Casting the Future: How the Statues Are Installed
Construction, Materials & Environmental Design
All of the statues were cast on land using moulds, then transported by boat to their final underwater homes. The materials are pH-neutral, marine-grade cement, free of metals or additives that could harm aquatic life, and specifically formulated to encourage coral settlement and growth. Made with the help of marine park officials and the Cancún Nautical Association, inert fibreglass rebar reinforces each piece,
Some sculptures incorporate broken coral fragments or feature microsurfaces and textured holes to promote the colonisation of marine life.
Rough textures on deCaires Taylor’s figures help coral larvae find a firm foothold, while small cavities soften ocean currents and create cosy hideouts for fish.
These aren’t ordinary statues—they’re engineered ecosystems. Many were cast from local fishermen and residents, embedding community identity in each work. Over time, nature takes over: coral, algae, and sponges transform the art into a living reef.
The Silent Evolution: 450 Figures, 120 Hours, 1 Vision
Most statues are sunk using sandbags and pulleys, while others — especially larger pieces, such as The Silent Evolution — require cranes and meticulous coordination.
The result is an underwater museum designed not just to be seen, but to be transformed. As coral, algae, and marine life begin to grow over the works, nature takes over the final design. The idea isn’t to preserve the original form, but to let the reef take ownership.
The Silent Evolution is designed to grow with the environment in two stages.
Stage one is the building and placement of the statues.
Stage two is how nature transforms them. Coral attachment grows and transforms into a living reef.
deCaire states
"I would also like to point out that this installation is by no means over and the second phase is dependant on nature's artists of the sea, to nurture, evolve, and apply the patina of life"
The work took Jason deCaires Taylor 18 months, and 120 hours were spent working underwater.
According to deCaire Taylor
"120 tons of concrete, sand, and gravel were used, 3,800 meters of fibreglass, 400 kg of silicone, 8000 miles of red tape, and $250,00".
Special lift bags were used to help control the position as they lowered the statues to the ocean floor. Once in place, the statues were drilled into place using pilings and specialised hydraulic drills.
A special 40-ton crane was placed on the car ferry that travels between Isla and Punta Sam to help position the over 450 statues that comprise The Silent Evolution.
Laid with the Tides, Aligned with the Moon
The location of the statues is of paramount importance. The permanent resting place is given much consideration before submerging the statues. Where possible, they are placed downstream from a healthy reef to intercept the all-important flow of coral larvae. In the case of the Silent Evolution, it is also protected by the Manchones reef system in the case of a tropical storm.
The Silent Evolution is the shape of an eye that faces the pathways of hurricanes, reducing the energy they spend on the statues.
Timing is also crucial. Coral spawning occurs in sync with lunar cycles, and the pulses of larvae sent out are pretty predictable. Deploying statues to coincide with one of these events gives them a much better chance to acquire a new generation of coral before other species, such as large algae, take hold.
In some statues, this process of coral growth has been aided by the implantation of storm-damaged nubbins and fragments raised in nurseries, such as The Man on Fire, Holy Man, and The Gardener.
Where Art Breathes: Ongoing Works and New Additions
Each statue in the Manchones National Park has its own story.
Click a name below to dive deeper into the art beneath the waves.
Founding artist
Jason deCaries Taylor (UK)
Man on Fire Manchones Gallery 2009
The Gardener Nizuc Gallery 2009
The Dream Catcher Manchones Gallery 2009
Silent Evolution Manchones Gallery 2010-2012
New Artists
Roberto Diaz Abraham (Mexico)
The Ocean Muse Nizuc Gallery 2011
Karen Salinas Martinez (Mexico)
Seascapes Manchones Gallery 2011
Rodrigo Quiñones Reyes (Mexico)
Biomap Manchones Gallery 2011
Salvador Quiroz (Mexico)
Bacab Manchones Gallery 2011
Elier Amado Gil - Currently working on many new statues with Roberto Diaz
Second Expansion
Jason deCaires Taylor
Anthropocene Manchones Gallery 2011
Prostibocho Manchones Gallery 2011
Urban Reef with the Intervention of Invaders, Manchones Gallery 2011
Urban Reef with Chimney Manchones Gallery 2011
Time Bomb (mine) Manchones Gallery 2011
Time Bomb (fuse) Manchones Gallery 2011
The Bankers Manchones Gallery 2012
Void Nizuc Gallery 2011
Inertia Nizuc Gallery 2011
Inheritance Nizuc Gallery 2011
Holly Man Nizuc Gallery 2011
The Listener Nizuc Gallery 2011
The Last Supper Nizuc Gallery 2011
Reclamation Nizuc Gallery 2012
The Anchors Nizuc Gallery 2013
Vein Man Nizuc Gallery 2013
Self-Immolation Nizuc Gallery 2013
No Turning Back Nizuc Gallery 2013
The Speaker Nizuc Gallery 2013
Although there was permission for ten galleries, only three have been completed to date:
Salon Manchones 10m / 33ft Great for diving and snorkelling
Salon Nizuc 4m / 13ft Snorkelling only
Punta Sam 3.5m / 11ft Snorkelling only
By the end of 2013, over 500 statues had been placed on the ocean floor—477 in the Manchones gallery, and 23 in Nizuc. Punta Sam was later given two sculptural sets as well.
That same year, over 100,000 visitors came to experience MUSA.
The Space Invader
Perhaps less well-known about MUSA is the existence of three small tile aliens that resemble those from 1970s-1980s video games (which the older among us will remember).
A well-known urban artist, known by the pseudonym "Space Invader" (his name was taken from the 1978 video game arcade game of the same name), has made it his mission to invade the world with his crude pixelations of 8-bit video games. Much of his work is composed of square ceramic tiles, and if you know where to look, you can find these under the ocean at MUSA.
Two are located in the Manchones Gallery, and one is at the MUSA headquarters, which is well worth the visit.
As Space Invader states on his website
"In 2007, I was thinking of creating underwater sculptures. Five years later, after I was technically ready to undergo with this project, I discovered the work of Jason de Caires who had just joined one of the gallery that was representing me. I decided not to venture into his territory and wrote him an email about the coincidence. He replied me that he was currently working on a series of new underwater sculptures and that he would love to partner with me. This is how three space invaders ended up installed at the bottom of the Cancun Bay!"
His little invaders can be found worldwide, and you can track his progress here.
The Cleaners We Never Saw: How Sea Urchins Schooled the Scientists
Dr Jaime was contacted to clean the silent evolution because there were complaints about a large amount of algal growth on the new statues, and visitors were upset that the features of the statues were obscured.
The initial growth on the statues was a thick layer of algae. At this stage, there were only 400 statues. The rest were to come later. Following instructions from the national park, half the statues were entirely cleaned of algae, and half were not.
Three 3-weeks later, in the areas where algae had been removed, it grew worse than ever: in the places left untouched, the algae disappeared.
This unintentional interference with the natural evolution of an artificial reef led to an exciting discovery. What was unknown at the time was that a massive colony of sea urchins was living underneath the statues. These sea urchins would leave their habitats at night and do a natural, more efficient cleaning of the artificial reef. When their statues had all the algae removed, they moved on to better feeding grounds (the other, untouched half of the statues) and did what they do best: clean and control the new algal growths.
This surprised all involved and provided a valuable insight into the natural process of an evolving artificial reef system, highlighting the negative impact human interference can have on the natural process.
Reef Relief: A Living Gallery that Gives Back
MUSA has proven to be increasingly beneficial on many levels.
Reduces Pressure: MUSA diverts about 50% of beginner divers and snorkelers from the natural reef.
One of the most significant benefits of MUSA is relieving the sheer number of visitors to the natural reefs. MUSA is so incredibly popular and successful that 50% of all entry-level and new divers dive there for the first time.
Training Ground: Offers a safer environment for new divers to master buoyancy before exploring fragile coral reefs.
Not only does this take half the traffic away from the reef, but it also provides a training ground for those who could damage a natural reef with clumsy buoyancy skills.
The snorkelling-focused Nizuc gallery, which is at 4 m/ 13 ft, is located beside one of the world's busiest snorkelling sites. As with the Manchones Gallery, it encourages visitors to spend at least half their time away from a fragile natural reef.
A natural reef is exceptionally fragile, and one clumsy movement from a diver or snorkeler can break a coral. Not only do corals grow very slowly (the fastest growing at an inch a year), but this breakage, while not directly injuring them, may leave them more susceptible to disease and algal overgrowth.
Education & Awareness: Visitors learn about the health and conservation of the reef.
Another benefit is educating tourists about how their actions affect a natural reef.
Local Economy: Tourism income offers alternatives to fishing, promoting environmental stewardship.
The income generated by these artificial reefs can encourage local communities to take care of their reefs. An incentive toward environmental tourism that focuses on the well-being of a reef, rather than extracting its commodities and residents, demonstrates that more money can be generated through reef visits than through reef fishing.
Biodiversity: New ecosystems have flourished in once-barren seabeds.
These artificial reefs are built on featureless seabeds that would typically hold no appeal to underwater visitors. Where no marine life existed, an independent ecosystem is now thriving, and the artificial reef is smothered in life. Biological diversity has been boosted as a result.
Scientific Discovery: MUSA enables the observation of ecosystem formation and the interactions between species.
From a scientific perspective, considerable knowledge has been gained about how ecosystems function. The interactions and roles of each species in the success of a natural, self-sustaining ecosystem become quickly evident, with each having its part in maintaining the ecosystem in balance.
Nature’s Brushstrokes: The Second Phase Begins
From the hard corals and coralline algae that work together to create structure and habitat, to the sponges and branching corals that shield the reef from currents and offer shelter, to the grazers that control the algae and open substrate for new coral to attach, to the animals that live there. All have their role to play, and their success depends on the success of the others—a delicate balance that Jason deCaire Taylor considers when designing all his statues.
One statue, The Listener, has a recording device inside that records thirty seconds of sound every fifteen minutes. In a collaboration between Heather Spence, Jason deCaire Taylor, and the merging of art and science, much can be learned about marine bioacoustics. Listen to a sound sample here.
The snorkelling and diving tours
The conditions for diving and snorkelling are amazing. With Manchones Gallery at 10 m / 33ft, it is a fantastic place to train new divers before taking them to the natural reef. With excellent visibility, generally between 20-30 mt / 66-99 feet, the statues can be seen by diving and snorkelling, although the greatest interaction is with diving.
There is generally minimal current, which aids significantly in training purposes for divers and the pleasure of snorkelers swimming above.
It is enjoyable for divers of all levels, and underwater photographers will appreciate the numerous subjects available to hone their skills.
Snorkelling tours have stringent requirements.
Life jackets are to be worn at all times
no freediving
no non-biodegradable sunscreen (also scuba divers)
no more than 12 per guide
All guides must be legal with a Parque Nacional certification. All visitors to the park are required to pay an admission fee, which is collected in the form of a bracelet. This cost is typically included in the tour price.
Ensure you only work with licensed companies that have the correct permits. Do not encourage pirate companies that disregard the rules, the reef, or the local economy.
Thanks to forward thinkers like Dr Jaime Gonzalez Cano and Roberto Diaz Abraham, and artists like Jason DeCaries Taylor, our oceans are being given a much-needed helping hand, and a new way of experiencing diving and snorkelling is becoming more widespread. Hand in hand with showing that environmental tourism, especially where the ocean is concerned, is the way of the future
A very special thank you to Roberto Diaz for sharing so much with me about the start, the process, and where the underwater museum is headed today. If you are genuinely interested in knowing more about MUSA, take some time out of your day and visit the headquarters in Cancun. The history is impressive, and the new statues planned for future installations are incredible. I will post soon about my time there and the amazing stories Roberto Diaz shared.
Depth
10 meters / 33 feet
Boat Ride
10-15 min
Dive Type
Reef
Artificial Reef - Statues
Experience Level
Snorkelers
Divers - Entry Level, Beginners, and all levels of certified divers
Average Visibility Underwater
20-30 mt / 66-99 feet
Average Water Temp
28 C°/ 82F°
Dive Time
Approx 45 min
📩 Message us to book a tour or ask about certifications — we’re always happy to chat diving!
Additional Resources & References
Artist completes artificial reef, "The Silent Evolution," installing 400 sculptures underwater. (2010, October 1). Kelly Burgess. https://latimesblogs.latimes.com/outposts/2010/11/jason-decaires-taylor-artificial-reef-silent-evolution-underwater-sculptures.html
Geiling, N. (2014, June 10). Can Underwater Art Save the Ocean's Coral Reefs? Smithsonian Magazine. https://www.smithsonianmag.com/travel/underwater-museum-180951559/
BBC News - Mexico's "giant underwater museum." (2009, October 19). BBC. http://news.bbc.co.uk/2/hi/8326593.stm
Garling, C. (2011, April 4). Underwater Sculptures Give Sea Creatures a Haunting New Habitat. Wired. https://www.wired.com/2011/04/underwater-sculpture/
M.U.S.A. Museo Subacuático de Arte. (2022, April 25). Underwater Sculpture by Jason deCaires Taylor. https://www.underwatersculpture.com/projects/musa-mexico/
Vazquez, P. (2021, May 28). The Cancun Underwater Museum – Then and Now Part 1. Aquaworld. https://aquaworld.com.mx/en/blog/cancun-underwater-museum-then-now/
Wikipedia contributors. (2022, June 13). Cancún Underwater Museum. Wikipedia. https://en.wikipedia.org/wiki/Canc%C3%BAn_Underwater_Museum
D. (2018, June 2). Space Invader under the sea, Cancun Bay, Mexico 2012 | GraffitiStreet.com/News. GraffitiStreet. https://www.graffitistreet.com/space-invader-under-the-sea-cancun-bay-mexico-2012/
Bhatt, C. (2021, February 18). Museum Spotlight: Cancun's Underwater Museum of Art. Arts Help. https://www.artshelp.net/museum-spotlight-cancuns-underwater-museum-of-art/
Taylor, J., McCormick, C., & Scales, H. (2014). The Underwater Museum: The Submerged Sculptures of Jason deCaires Taylor (Illustrated ed.). Chronicle Books.
MUSA, Museo Subacuático de Arte “El Arte de la Conservación.” (2016). Grupo Regio.
Photo Credits: @jamie_justaddwater, @jaspersblueworld, MUSA archives
Tracy Gunn is the founder and owner of Pocna Dive Center on Isla Mujeres, Mexico. A former banker turned adventurer, Tracy left a decade-long corporate career to pursue her passion for diving and island life. With over 35 years of diving experience and 24 years of living on Isla Mujeres, she now serves as a PADI Course Director, training the next generation of divers at her dive school. When she’s not underwater, Tracy shares her love for the island and the ocean through engaging blogs about diving, marine life, and the culture of Isla Mujeres.
Interested in reading more from this author?
Blogs about Isla Mujeres, Mexico, and Recreational Scuba Diving: click here
Blogs about Instructor Development Courses and Professional Scuba Diving: click here
Últimamente me he metido mucho en las apuestas de dota2 y la verdad es que la emoción de seguir los torneos en vivo es increíble. Las cuotas suelen ser bastante buenas y hay mercados muy variados. ¿Alguien más apuesta en Dota 2?
I was researching successful individuals who didn’t attend college and came across this post—it’s truly motivating! Similar to how MUSA chose an unconventional approach to rejuvenate marine life, there are many who didn't go to college and is successful. This initiative illustrates that with determination and imagination, incredible outcomes can flourish—both literally and metaphorically.