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Questions about whether “performance” disappears or remains fuel debates in the academy, the art world, and beyond. If performance exists solely in the second of its execution, how can it be “saved”? This chapter takes up this question through a consideration of how archival holdings convey a sense of what the performances meant in their specific context and moment, and what they might mean now. Specifically, it considers the multiple states of again-ness present in Marina Abramovic’s 2010 show The Artist Is Present.

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