The tomb is small and incomplete, but it possesses a certain charm, due notably to the quality of the decoration and a visitor can only despair when seeing how much the walls have been mutilated.

The monument excavated into the hillside, and is reached by a small off-centred curved ramp in the rock, which ends in the south-east corner of a small, almost square courtyard. The entry to the tomb complex is at the north. The tomb presents an inverted "T" shape, classic of the XVIIIth Dynasty, with (at the rear) a longitudinal chamber oriented south-north (and not east-west, its symbolic orientation) (see ).
Before this, the first on entering the complex, is a transverse chamber, oriented south-west by north-east; that is, rotated anticlockwise (by approximately 10 degrees) to the almost perpendicular longitudinal chamber.
As is usual, the decorations are placed as if the orientation of the tomb was symbolically correct, that is to say with an entry to the east and the rear of the complex to the west. The walls will, however, still be named using their magnetic orientation.

It can immediately be seen that the burial complex is very small: the distance from the entry to the rear of the longitudinal chamber is only 7.85m and the transverse chamber measures 4.80m from one side to the other, only about 1 metre from front to back. Both rooms have low ceilings (see and ), being just over 2 metres in height in the transverse chamber, but approximately 0.4 metres less at the entry to the rear chamber, in that a tall man can just stand upright in the transverse chamber, but would have to bend on entering the rear one, until reaching the higher area at the rear. The ground level, from the entry of the courtyard through to the rear of the longitudinal chamber, slopes downhill.
The quality of the rock is very poor, and it could be for this reason that a small square section was dug into the west wall for the the entry of a burial shaft.
The work of the quarrymen was neglectful at the very least: none of the walls are straight, each having is own degree of an upright nature and none of the opposite walls are actually parallel to each other.

The walls were covered of a thick layer of 'hib', a mixture of mud and finely chopped straw, then coated with a white lime wash, and not, as was the habit in the 18th Dynasty, of a fine layer of stucco. The paintings were applied directly onto this plaster layer, as would later be the case in the Ramesside period.

The tomb resembles those of Menna (TT69) and Nakht (TT52) and, as with these, it is solely painted with no sculpted reliefs. But being at the end of the reign of Amenhotep III, a certain classical style was again required: thus, the representations are more closely appropriate to the texts, and the dresses of the ladies are less transparent. Nevertheless, if the artist was conventional in the portraits of couples, he allowed himself liberties elsewhere, as in the scene showing the squatting Henutneferet close to the coffin: her mouth of a woman in mental pain, her soft breast, her posture, doesn't have much to do with the classic academic style, but predates the Ramesside period.
The workshop scenes, showing the high quality of wood and metal work, are unusual and are a reminder of the Thutmosis III - Amenhotep II period; a notable reminder of the scenes of Rekhmire (TT100).

The wealth of the reign makes of this period, according to Cabrol Agnès, a "golden age" of craftsmen, seen from the novelty in style and in an abundance of colour.
Arpag Mekhitarian had spoken initially about the tomb being of a transition style between the 18th and 19th Dynasties. Subsequently, he changed these comments slightly and wrote: "Certain details, by their picturesque style and realism, prefigure the tendencies of Ramesside craftsmanship […]. It is nevertheless true that, on the whole, other scenes conform to the classic and more or less academic norm, of the reign of Amenophis III.".

In the decoration, the artist (or the artists) used a rich palette of colours, not just ochres, but also with blues and greens.
According to Melinda Hartwig, the decoration of the tomb of Nebamon and Ipuky is closer to those of , , Pairy (TT139), TT75,120,108, etc. The compositions there, however, are relatively static, with scenes which revolve around the seated deceased, or only accompanied by his wife. The characters are relatively symmetrical, and their outlines are clear, with many interior details. The secondary characters, produced gracefully, are in the form of small vignettes where they form, by their look or their gestures, small groups of two or three.

Before the modern damage, the tomb had already undergone the outrages of the zealous followers of Akhenaten, who had erased not only the name of the god Amon, but also that of the goddess Mut, all sem-priests and sometimes the plural of the word 'god'. (The name "Amon" is today often written as "Amen or "Amun", although the hieroglyphic spelling is the same .) Some damage of a more natural cause is visible, notably to the lowest level of the scenes, namely flooding.

The decoration is confined to the main entry walls, those of the transverse chamber and a scene on the east wall of the longitudinal chamber.

Returning to the transverse chamber, it should be noted that each wall (two in the case of the north and south ones, due to being separated by doorways) is surrounded by an Egyptian frieze which consists of red, turquoise, yellow and blue rectangles, separated by small white rectangles and edged by two thick turquoise lines, then each colour change edged with fine black lines. Outside the end uprights is a secondary frieze, that of a thin "leopard tail" design, and separated at the wall corners a turquoise band. The tail is black, with white ovals with alternately elongated black and red centres (usually these are only black). For a view of these pattern combinations see the east wall image opposite.

All walls are surmounted by a frieze formed of open lotus flowers, hanging downwards, separated by clusters of grapes ending in small red points. The lotus blossoms and the bunches of grapes a joined at the top of the frieze by red stems. On the east wall, the clusters are replaced by unopen lotus buds. Below the decorated scenes, five horizontal bands (black, red, black, yellow and a fine black one at the bottom) delimit an uninscribed dado area which reaches to the ground (see ).

The path leading to TT181, crosses the one leading to the common courtyard of TT178, TT296 and TT365 (see ). For details of the tomb TT178, that of Neferrempet, , and for TT296, that of Nefersekheru, .

The courtyard of TT181, which slopes downwards to the north (as does the floor of the whole inner complex), is approximately 4 x 4m square, dug into the cliff. The floor is reached by steps located in its south-easterly half. This descent is blocked today with no apparent reason (see ).

In the middle of the left side (west), Davies had recovered a trace of an offering table in stone (carved into the rock), but this is no longer visible today. In the north-west corner is the entry of the first of the two funerary burial shafts.
In the middle of the east side, opens up the entry of another tomb (TT337), uninscribed, which has remained in a rough cut stage. This includes, in the first chamber, half of which is uncut, a central pillar. At the rear, a second smaller chamber opens up, which includes a funerary shaft.

Today nothing can be said about the original facade of TT181, because of the restoration work. The entry is surmounted by a modern wall and doesn't include the original limestone framing. Davies reported the existence of the remains of a limestone lintel, including a coving, at the entrance.

The small entry corridor, the floor of which slopes towards the inside, measures about 0.96m wide. The left inner passage wall measures 1.40m, the one on the right being 1.60m. The difference of the two is due to the rotation of the first inner chamber.

Ipuky faces into the tomb, clothed in a loincloth and a fine tunic, naked feet and the shaven skull of a priest. Around his neck he wears a decorated gold pectoral (see ) suspended on a broad ribbon painted with colourful rows of round and oblong beads. The pendant is surmounted by a coving over a boxed rectangular area, which encloses a heart flanked by a red 'tiet' symbol (or Isis knot), and the djed pillar of a regenerated Osiris. With his right hand he holds his staff of office, and with the left he grasps a sekhem sceptre of power. Above him are eleven columns of mutilated text: "[…] coming in peace from the temple […] to his house [of eternity], having reached a venerable age and having reached a good old age. He comes in well-being and peace to […] a golden pectoral (?) […] in the presence […]. [He says] 'Grant, Lord of eternity, that I may be with you in the necropolis (because) I am one among you […] whose abomination is sin'. For the ka of the Osiris, the supervisor, Ipuky". In the time of Davies there could just be recognised a sub-scene with priests offering incense and libation before a pile of gifts, again facing in the same direction as the Ipuky.

This is even less well preserved than the east wall, but sufficient enough to recognise a couple leaving the burial complex. The lady Henutneferet greets the sunrise by raising her hand, whilst in the other she holds a menat necklace, the Hathoric symbol, but which is inscribed on the counterweight with: "Mut, Lady of Isheru". The man is no longer identifiable, but it would certainly have been an image of Ipuky, making it the counterpart of the image of the opposite wall, but also because Henutneferet is never represented together with Nebamon. Once again, during the time of Davies, there were traces of men bringing tables with jars and food.

So, as can be seen, Ipuky wishes to leave the tomb at the rising of the sun, to see his family, his home and to go to the temple to pay homage to the gods (probably, especially to Amon). He possibly wants to take advantage of offerings placed on the altar of the gods to his statue, if he has one in the temple. Then, at the setting of the sun, to return to his tomb, in peace.