Antón searched libraries and found a book by Mexican photographer Manuel Álvarez Bravo, which convinced his father to support his career choice.

In 1987, the founder of the photography program at Cal Poly Humboldt, Tom Knight, recruited Antón to fill a one-year visiting lecturer position.

In 1982, Antón's work was included in an exhibition curated by Franciscan Sister Karen Boccalero at Galería Otra Vez in Boyle Heights, Los Angeles.

The Multicultural Focus survey was directed by the curator and writer, Josine Ianco-Starrels[5] and held at the Los Angeles Municipal Art Gallery in Barnsdall Park in 1981 to celebrate the cities Bicentennial.

[6] Thirty years later, this exhibition, retitled REFOCUS: Multicultural Focus, would resurface through the efforts of the photographer and educator Sheila Pinkel, and presented in the Getty Museum's monumental survey Pacific Standard Time.

In 2006, Antón's Artist-in-residence at Light Work would lead to the exhibition and catalog Ollin Mecatl: The Measure of Movements, curated and authored by the executive director and photographer Hannah Freiser.

[8] The show contained Antón's "Retablos" series, intimate images on copper plates that harken to religious iconography often found in colonial churches.

This style of devotional paintings were first experienced by Antón when he was an altar boy at Saint Francis Xavier church in Pico Rivera.

[10] Antón's work was shown in EN FOCO: New Works/Crossing Boundaries, a collaborative exhibition by the editor and publisher, Miriam Romais and the historian and director of BRIC ARTS, Elizabeth Ferrer, in 2013.

Antón’s reliquaries display small photographs, often self-portraits depicting some kind of ritual act or moment of ecstasy.

(Movimiento Estudiantil Chicano de Aztlan) of HSU, for their use of his essay "No Thought is Alone – A Teachers Plea for You to Add Yourself into the Course of Change" in welcoming and retaining incoming "diverse" students to the university.

[12] In a plea to clarify those issues related to a personal inclusivity of ones own reflective thought, Antón's essay published by the Hispanic Research Center's[13] Latina/o Art Community[14] asserts, "It is crucial to understand that you must add a part of yourself to all that you see for learning to take place.

What Follows provides an accessible and inexpensive opportunity for colleges, schools and museums to become aware of the individuals currently active in today's art world.

"[22] Essayist Cameron Woodall addresses the works relative nature of empathy, "Using Photography, Don Gregorio Antón searches the depths of consciousness leaving us awed at magic manifested.

We are riveted by these photographs as we might suddenly catch a stranger in a moment of self-reflection, caressing an exposed limb or talking out loud or shedding a tear alone in public.