Gee's Bend quilts: first impression & second thoughts

This article continues the everlasting discussion--or debate--between art and craft, and what makes something art.  As much as Kalina refers to the quilts as "remarkably powerful" and "compelling visual statements" that "declare themselves viscerally," I can't help but think about the intention of the quilters during the sewing process.  It is detailed how much quilting was not a hobby.  It was a necessary task, a chore like feeding hogs.  Prissy Pettiway admits she was "too tired to do no sewing," but did it because to stay warm in her old, drafty house.  

With specific venues such as folk art museums and craft museums, what is the likelihood that exhibits like this will occur in the future?  I wonder how one of the Pettiway ladies would react if they visited the Whitney and toured the exhibition.  Would they appreciate the privilege of showing in such a distinguished, iconic American art museum?  I imagine the quilters (or, ahem, artists) standing around at their opening reception, daintily balancing plates of crudites, sipping  chardonnay.  Ladies discussing their influences of "Paul Klee architectural fantasy" and how they decided to use work clothes for an "extremely subtle interplay of hue and value."

But perhaps I am too quick to harshly judge.  Upon searching for color images of the quilts, I found that Sports Illustrated cover girl turned home furnishings guru Kathy Ireland has designed (and I use that word loosely) a series of Gee's Bend home accessories, ranging from lamps, to rugs, etc.  Her company states that they appropriately compensate the quilters.  Also, many quilters have gained gallery representation from the success of the touring museum show.