It is true that many of the artist's outdoor pieces have already accrued high value, resulting in the development of a new and progressive tendency of auctioning off concrete walls in private sales. Soon after their appearance in the urban environment, the works become 'protected' under the watchful eyes of caring building owners and entrepreneurs, more concerned about the fiscal rather than the intrinsic value. 
Featuring an elderly lady looking at an empty plinth, while listening to what appears to be an audio guide, the Folkestone stencil, named cheekily 'Art Buff' received almost instantly a new shiny perspex coating. The ultimate goal - to keep it safe from harm seems selfish and against the natural life cycle of street art. But it is the most common and accepted form of appreciation and evaluation of the art these days...
'Art Buff', Banksy, Folkestone, 2014. Image: the artist. 

A security guard standing next to the 'Art Buff'. Image via the Independent

And while Folkestone treated the work with a tender loving perspex care, the Tendring district council took off their gloves and buffed the piece after a single complaint. 
The gang of grumpy grey pigeons with placards was quickly removed, condemned to be 'racist'  and 'offensive'. 
Below the work before the buff. Image via the artist

The council, however, reported that they would 'obviously welcome an appropriate Banksy original on any of our seafronts and would be delighted if he returned in the future' (Guardian).
This view is a clear response to the question why the created by Banksy image suddenly matters so much. What makes it valuable is its ability to expose the truth and mirror the times we live in without any censorship. 
We end up with a quote by the renowned art expert Jonathan Jones that sums it all :
Only part of the content of an image is determined by the artist. The rest is born in the mind of the person looking. What you see is not what you get - it is what you bring. Banksy is in the eye of the beholder

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