tere ot yp ical ▁patri arch al ▁att itudes ▁surrounding ▁connections ▁between ▁women ' s ▁bodies , ▁the ▁domestic , ▁and ▁nature ▁that ▁Woman house ▁attempted ▁to ▁critique . ▁Pa ula ▁Har per ▁argued ▁that ▁such ▁language ▁is ▁an ▁attempt ▁by ▁critics ▁to ▁soft en ▁the ▁impact ▁of ▁Woman house ▁by ▁assim il ating ▁it ▁according ▁to ▁convent ions ▁of ▁femin inity . ▁ ▁Some ▁individuals ▁strongly ▁opposed ▁this ▁exhibition . ▁Some ▁critics ▁claimed ▁that ▁radical ▁femin ist ▁art ▁projects ▁such ▁as ▁Woman house ▁" und erm ined ▁a est h etic ▁standards " ▁in ▁the ▁ 1 9 7 0 s . ▁O thers ▁claimed ▁that ▁it ▁was ▁more ▁ther apy ▁than ▁art . ▁Pa ula ▁Har per ▁challeng ed ▁this ▁critique , ▁arg uing ▁that ▁challeng ing ▁the ▁definition ▁of ▁art ▁is ▁a ▁" function ▁of ▁the ▁avant - gar de ”. ▁ ▁L ack ▁of ▁scholar ly ▁attention ▁paid ▁to ▁Woman house ▁is ▁attributed ▁to ▁its ▁very ▁early ▁production ▁in ▁the ▁context ▁of ▁femin ist ▁art , ▁its ▁lack ▁of ▁controvers ial ity ▁in ▁relation ▁to ▁other ▁install ations ▁of ▁the ▁time ▁( most ▁not ably ▁Chicago ' s ▁own ▁The ▁D inner ▁Party ), ▁and ▁some ▁accus ations ▁of ▁essential ism . ▁However , ▁it ▁is ▁also ▁argued ▁that ▁the ▁piece ▁illustr ates , ▁comp licates ▁and ▁sub ver ts ▁a ▁" false ▁binary " ▁of ▁essential ▁and ▁constructed ▁identity ▁which ▁enh ances ▁its ▁value ▁and ▁relev ancy . ▁ ▁In flu ence ▁ ▁Art ists , ▁art works