Fakeness, on the other hand, is mutable, plastic, electronic. You get to be who you want to be by playing. Real people are proud alcoholics on Indian reservations. Fake people are happy campers. The work of children, outsiders, the poor and the mad is always going to be inherently interesting for better reasons than the patronising mix of nostalgia, sublimated guilt and christian charity that seems to inform some people's attitudes.
Outsiders are the bluesky research lab of the straight world.
Outsider artists often make much more interesting work than many conformist and mealy-mouthed professional artists. Look at Henry Darger 's sexy, crazy, epic writings and drawings about troupes of beleagured hermaphroditic infants. Listen to Harry Partch's handmade microtonal instruments, or consider how Leadbelly and John Lee Hooker influenced guitar playing and record production. Look at how Kinsey's patient explication of people's actual sexual practices in the 40s and 50s paved the way for the arrival, in the 60s, of the 'permissive society'. Or look at how the Prinzhorn Collection now resembles a trailer for the history of twentieth century art.