My research project address the complexity involving the perpetuation of performance-based artworks, problematizing curatorial and conservation strategies as well as academic and critical discourses surrounding them. By performance-based artwork I refer to an artistic work linked to an event (something happening in a specific time and space frame, that has a duration), often included in the art sphere (exhibition context) either in its first presentation or subsequent (re)presentations. In this sense, performance can be understood as an expanded field. Just as the expanded field of sculpture (Rosalind Krauss) is constituted by the number of multiple but finite possibilities resulting from the relations extracted from the binary opposition of architecture and landscape, so can the expanded field of performance be thought as the sum of the possibilities resulting from relations extracted from the binary opposition of dance and theatre. After its inaugural event – first chronological traceable presentation or production moment -, and with the transition to an exhibition context – frequently musealization -, performance-based artworks are often translated to a composition of remains, the event being replaced by different sorts of documentation and/or (other) objects that have a symbolic, iconic and /or indexical relation to the referent – the inaugural event –, predominantly indexical. Presentation of single or juxtaposed photographic, video, film or sound recordings, reconstructions or reconstitutions of scenic or contextual settings, display of used props or objects produced during/resulting from the event and reenactments/ reperformances are among the different strategies of “framing” (Mieke Bal) such works within an exhibition discourse and practice. In the context of the performing arts, (re)enactment is generally understood as an inherent characteristic of the work and, more often than not, the performance is meant to be repeated several times. In the context of the visual arts, a performance artwork is often intended to be a one-time occurrence and reenactments/ reperformances take place mainly as an attempt to reactivate the work retrospectively. Performance based-artworks live on and maintain a kind of elastic identity, through the dissemination of documentation and its reproductions and strategies of reenactment/ reperformance (or even reinterpretation), that add to the constitution of an activated spectrum of action (both extension of influence and phantasmatic presence). Repetition (with what it has of identical and of difference) and other forms of reiteration construct continuity (despite discontinuity – intervals), enabling the inscription and permanence of performance-based artworks in the flux of history. The persistence of an artwork might depend on how “prolific” it is (Bruno Latour & Adam Lowe) and how efficiently its ‘aura’ is relocated; either “reterritorialized”, by means of installation – display of documentation – (Boris Groys), or “migrated”, by means of (re)enactment – the durational and ‘live’ repetition of the work (Bruno Latour & Adam Lowe). By rehearsing and revising terminology – inaugural event, interval, activated /deactivated spectrum, elastic identity, translation, presence, archive, repertory, etc. -, the project aims to contribute to the expansion of the conceptual framework that supports critical reflection on issues related to the presentation, conservation and perpetuation of performance-based artworks.