The _Antinova_ project could be considered conceptual art if we accept the multifaceted definition that Lucy Lippard offers in _Six Years: The Dematerialization of the Art Object from 1966-1972_: art in which the idea or concept behind it is prioritized and the materiality is demphasized; art that critiques and subverts the commercialism of the gallery and museum system along with the value of originality and authenticity on which such commercialism is based... Yet Antin designates her art as "postconceptualist" not for reasons of chronology but because of her intention to undermine the authority and objectivity of the document that so many first generation conceptual artists used unquestioningly and unproblematically
Smith, Cherise. Enacting Others. Durham: Duke UP, 2011. 86. Print.
On the positing of the Antinova project within a framework for understanding her use of narratives.
The entire Antinova project works to chip away at narrative integrity. She spins many stories, simultaneously relying on, and diverging from, established narratives that relate to the roles of outsider artist and expatriate artist, artistic exclusion due to racial and ethnic identity, the indignity of aging, and the humiliation of lost fame... Antin's narrator is so subjective that the reader has no choice but to take her veracity with a grain of salt. So, while the book purports to be a record or document of the performance that lasted twenty days, it also undermines its own truth-quotient at every turn.