It was this context that defined Labour arts thinking through the 1990s.
The former Labour arts minister Lady Blackstone will also attend, as will Martin Roth and Alistair Spalding, the artistic director of Sadler's Wells.
In fact, if you compare Vaizey's visibility to that of the Labour arts minister, Barbara Follett, Vaizey is much more in evidence.
Oh, it quite takes one back to the good old days when Kim Howells, once upon a time Labour arts minister, remarked of the 2002 Turner prize shortlist that it was "cold, mechanical, conceptual bullshit".
Young delegates engaged in hearty discussions on gender, global warming, male circumcision, children's rights, child labour, arts, media and culture.
In the 90s it was New Labour, new art.
Between the wars, there is Eric Gill, whose carved Adam and Eve garden roller (1933) makes explicit the link between sexual health and happiness, manual labour and art, and the potter Bernard Leach, doggedly at his wheel in shirt and tie.
"They are centuries-old crystallisations of community and labour and art and the beliefs and ideas of thousands of people, and they're incredibly precious". Speaking to BBC News he said: "I'm an architecture nerd, and I'd been reading up on various cathedrals and am always looking for ways to shout about architecture on Twitter.
When I was Labour shadow arts minister I discovered that London gets 14 times as much arts money per person as the rest of the country and in Lincolnshire the budget last year was 25p per head.
Hers is an especially labour-intensive art.
