For an avant-garde movement intended (in Victor Burgin’s words) to “resist . . . assimilation to a history of styles,” Conceptualism has arguably done a grand job of entrenching the scope and importance of authorial style. The dematerialization of the artwork has had the effect of rendering every aspect of an artist’s oeuvre (including its very exclusions) available for stylistic consideration, and stylistic anomalies within a solo practice are now readable as ploys (evidencing—for instance—the author’s critique of authorship). The idea of the oeuvre is reinvested, and connoisseurship revalidated.