But what is really happening is that the white space of the gallery authorises the object as art: this is why commercial galleries like White Cube (the clue is in the name) and Gagosian opt for that purity.
and then he wanders off complaining that it is the business of these places to persuade collectors to part with lots of money for Art. He's right, but only partly so.
It is literally the job of Gagosian and so on to authorize objects at Art. That's their function. Someone's got to do it, especially in this world awash in excellent work. They are the gatekeepers. Yes, part of the result of this is soothing the wealthy and assuring them that their expenditures are a good idea. Part of it is indeed to make it be a good idea by blessing those works as important and valuable. Part of it is to separate for everyone in the world what pieces matter and which, perhaps with regret, we must consign to to dustbin of history.
These people, these galleries, are building the modern art history. They're reaching into the maelstrom, and pulling out work. Work which is, contrary to Jones' ongoing populist ranting about crummy modern art, actually says something, means something. Work that flows from previous work, and provides the basis for the next generation, and so on. They weave the tapestry of what will be the Art History of this millennium. It's their job.
If white walls help them do their job, well, so be it. I'm ok with it.
I did enjoy the joke about painting the walls red, though.