It’s fitting that “The Everted Capital,” the opening salvo of the second and third seasons of Fabien Giraud and Raphaël Siboni’s sweeping, unwieldy, and often exquisite magnum opus “The Unmanned”—a three-season series of films, sculptures, and performances—debuts at an end of the earth: the Museum of Old and New Art (Mona) in Hobart, Tasmania. Season one of “The Unmanned” limned an unorthodox history of computation via eight episodic film allegories, each representing a vital year in a reverse narrative from 2045 to 1542, and was shown and funded by several European and North American institutions over the course of its production, mostly recently in this exhibition’s first part at Mona earlier this year. “The Everted Capital” aims its sights on a subject no less vast: the history of capital. Mona not only debuts the work, but serves as its muse, patron, subject, and site. Carved into the subterranean sandstone rock of the River Derwent, Mona is as dazzling as it is idiosyncratic, a private museum built with (and partly to redeem) the online gambling winnings of its owner, David Walsh, and opened to the public in 2011 with Gatsbyesque West Egg benevolence. This November, Australia overtook Switzerland to become the …