David Walsh, an Australian billionaire and art collector, wants to create a casino in his already unconventional museum, the Museum of Old and New Art (MONA). More than merely a museum, MONA is a dynamic experiment in human expression via art. David Walsh gained his money through gambling and hopes to revive his old passion by constructing a high-stakes casino on the outskirts of Hobart. There are already plenty of Australian online casinos that Aussie gaming enthusiasts enjoy. Walsh’s plan, meanwhile, is a tough order given the restrictive laws that control Australia’s gaming sector.

The Backstory

Walsh’s track record demonstrates his willingness to take risks. The millionaire began at the cards table. At the right time, luck and skill brought him a huge sum of money. With the money came a newfound interest in art collecting, but with a twist. Unlike everyone else, his preferences were not shaped by the commonality of the art world. Walsh imagined a rebellious depository that embodied an anti-museum and presented academic works in an anti-academic manner. This endeavor ultimately incurred a $200 million financial outlay. It nearly brought Walsh to his knees. In the early 2010s, the billionaire claimed to spend approximately $8 million per year to cover the museum’s negative budget.

Additionally, Walsh’s paintings, like the famed “The Holy Virgin Mary,” caused turmoil at the Brooklyn Museum in 1999 due to objectionable themes. The urgent requirement for improved financial balances drove the businessman to undertake numerous impactful decisions and strategies. Ultimately, the Museum of Old and New Art proved to be a valuable asset to Tasmania, a lonely Australian island. It is a crucial component in the city’s metamorphosis from a bad reputation for housing the British Empire’s filthy jails to one of the top tourist spots on the planet.

Experiencing The MONA

The Museum of Old and New Art represents adventure and taking risks. The MONA, located in Tasmania’s southern capital, is unlike any other museum. It houses Walsh’s private collection worth millions of dollars and includes antiques and art from various centuries. The MONA also has two restaurants, several bars, lodging options, and a brewery. It also includes Walsh’s tennis court, chicken coop, and vineyard.


Walsh ensured that tourists would be captivated when viewing art, providing easy access to various extras to enrich their experience and prevent boredom. However, boredom is unheard of because everything here is gorgeous. Even getting to the museum is a thrilling experience since it involves a ride along the Derwent River. MONA opened in 2011 and quickly became popular around the world. If anything, its products are excellent. It is not every day that a museum offers memberships so unique that visitors can purchase an urn to be stored in the museum after their death.

The Wild Vision

David intends to create a mini-casino for big rollers to enjoy at the MONA. His design comprises a facility with approximately 12 gambling tables. Most crucially, the facility will only cater to the gambling demands of wealthy art aficionados, who are not permitted in highbrow establishments. The envisioned mini-casino, dubbed ‘Monaco,’ will provide this service as part of a no-pokie package aimed solely at high-roller tourists.

He explains, “Unlike the principles applied to the design of most casinos, Monaco would be designed as an ‘anti-casino’ and act as an outlet for art and design.” The mini-casino, like MONA, would accept what the rest of the world considers abnormal since it reflects Walsh’s rebellious spirit, as described in his autobiography ‘Bone of Fact.’ However, Walsh’s vision contradicts the present quo, and it may be more difficult to realize the ideal.


First and foremost, Australia already has rigorous casino laws. Second, Tasmania already has two casinos operated by the Federal Group, which holds the state’s exclusive licensing. Walsh’s vision does not include specifics about how it will impact current casino operations. However, he adds he is prepared to wait for approval from the state administration. Walsh is also willing to abandon the entire concept and casino proposal if its license is predicated on the Federal Group operating poker machines without restrictions.

Final Word

David Walsh is an unconventional entrepreneur, gambler, and art collector. All of his attempts demonstrate the willingness and ability to go against the grain of conventional wisdom. Walsh’s idea for a mini-casino is a novel one, capable of reshaping Tasmania in an equally unusual way. Fortunately, despite the difficulties, Walsh is a gambler who realizes that every hand is a winner and every hand is a loser.