There are, however, details in the book that are untrue, often because Bosker is bending the facts in the name of making art seem more cult-like and secretive. For instance, on page 35, Bosker writes, “It was the Nazis who helped perfect what we now think of as the white cube … The look became so popular that, historian Charlotte Klonk observes, ‘one is almost tempted to speak of the white cube as a Nazi invention.’ You’d think with friends like these the white cube would be verboten, and yet for ninety years, it’s stuck and spread.” If you look at the source, an article on the Tate museum website, Klonk’s full quote is: “In England and France white only becomes a dominant wall colour in museums after the Second World War, so one is almost tempted to speak of the white cube as a Nazi invention. At the same time, the Nazis also mobilised the traditional connotation of white as a colour of purity, but this played no role when the flexible white exhibition container became the default mode for displaying art in the museum.” See →.