An endless void.

Art Brian O'Doherty's seminal 1976 article, Inside the White Cube: The Ideology of the Gallery Space, originally published in now extremely rate issues of Art Forum Magazine examins the implications of the modernist blank space and how it either stimulates or clouds our appreciation of the art works displayed within:

"The ideal gallery subtracts from the artwork all cues that interfere with the fact that it is "art." The work is isolated from everything that would detract from its own evaluation of itself. This gives the space a presence possessed by other spaces where conventions are preserved through the repetition of a closed system of values. Some of the sanctity of the church, the formality of the courtroom, the mystique of the experimental laboratory joins with chic design to produce a unique chamber of esthetics. So powerful are the perceptual fields of force within this chamber that once outside it, art can lapse into secular status- and conversely."

Some of my best art experiences have been in white cube spaces and it's certainly preferable to the elaborate rooms which fill some British museums in which the paintings fight for visible supremacy against the fixtures and fittings, images impossible to see due to fluorescent lighting bouncing across their glazed frontages. But sometimes, as was the case at Copperas Hill during the Biennial, a very curious space can enhance the work because of the unexpected juxtapositions.