It helps to separate the show from other entries in the "comedians playing themselves" genre in that Bamford isn't trying to advance her show business career at all. At times, she seems blissfully ignorant of exactly how well she's doing (her faux sister Susan is alarmed at how much she makes at a studio session as if she heard it for the first time). In another episode, she turns down Judd Apatow because in that particular episode, her new focus on life is about doing as little as possible in life. After a few episodes, one can better make the argument that this even if it's a clichéd genre, Bamford's work is the ultimate personal statement: Maria Bamford is simply figuring out her life and way of expressing it on screen as she goes along.
It also helps that so many of the plots are loopy enough to match Maria Bamford's personality: Her uncertainty is matched by characters that either swing towards an extreme opposite (Mo Collins as pushy childhood friend Susan, Ana Gasteyer as Karen Gillam, Annie Mumulo as a highly aggressive dog trainer) or similar aimlessness (Fred Melamed is highly enjoyable as an agent who reeks of casual desperation, in the second episode she dates a bisexual recovering meth addict who can't distinguish the difference between bisexuality and polygamy).