INTRODUCTIONS   The Now and the Has Been: Paradoxes of Live Art in History – Amelia Jones   Then Again – Adrian Heathfield   THEORIES AND HISTORIES   Introduction  Amelia Jones   Chapter 1: The Performativity of Performance Documentation – Philip Auslander   Chapter 2: Dead Mannequin Walking: Fluxus and the Politics of Reception – Hannah B Higgins   Chapter 3: The Viral Ontology of Performance – Christopher Bedford   Chapter 4: Can Photographs Make It So? Repeated Outbreaks of VALIE EXPORT’s Genital Panic Since 1969 – Mechtild Widrich   Chapter 5: Macular Degeneration: Some Peculiar Aspects of Performance Art Documentation – Mónica Mayer   Chapter 6: History and Precariousness: In Search of a Performative Historiography – Eleonora Fabião   Chapter 7: Performance Remains – Rebecca Schneider   Chapter 8: Not as Before, but Simply: Again – André Lepecki   Chapter 9: The Prosthetic Present Tense: Documenting Chinese Time-based Art – Meiling Cheng   Chapter 10: Progressive Striptease – Sven Lutticken   Chapter 11: Repetition: A Skin which Unravels – Jane Blocker   Chapter 12: Art in the Age of Biopolitics: From Artwork to Art Documentation 209 – Boris Groys   Chapter 13: The Interstices of History – Angela Harutyunyan et al.   An Unofficial Timeline of Socialist and Post-Socialist Performance – Angela Harutyunyan et al.   DOCUMENTS   Introduction  Adrian Heathfield   Chapter 14: A Text on 20 years with 66 footnotes – Tim Etchells   Chapter 15: Faith Wilding, Waiting and Wait-With    Chapter 16: Lynn Hershman and/as Roberta Breitmore    Chapter 17: We Are Formatted Memories – Orlan   Chapter 18: Franko B and Kamal Ackarie, Don’t Leave Me This Way   Chapter 19: Make Me Stop Smoking – Rabih Mroué   Chapter 20: The Personal Evolution of the Performance Object (Or, What to Do with Leftovers) – Nao Bustamante   Chapter 20: The Personal Evolution of the Performance Object (Or, What to Do with Leftovers) – Nao Bustamante   Chapter 21: Cai Yuan and J.J. Xi, Mad For Real    Chapter 22: Hayley Newman, MiniFlux    Chapter 23: Daniel Joseph Martinez, Call Me Ishmael or The Fully Enlightened Earth Radiates Disaster Triumphant    Chapter 24: Multiple Journeys: A Performance Chronology – Guillermo Gómez-Peña   Chapter 25: Attending to Anthony McCall’s Long Film For Ambient Light – Lucas Ihlein   Chapter 26: ReCut Project – Ming-Yuen S. Ma   Chapter 27: Assuming a Migrant Woman’s Identity – Tanja Ostojic   Chapter 28: Barbara Smith, Intimations of Immortality    Chapter 29: Santiago Sierra and the “Contexts” of History    Chapter 30: Reconstruction2 – Janez Janša   Chapter 31: Documents of Chinese Time-based Art: Three Impressions from Three Fragments – Meiling Cheng   Chapter 32: Both Sitting Duet and Cheap Lecture – Jonathan Burrows and Matteo Fargion   Chapter 33: Aftermath: The Performance / Installation Nexus – Blair French   Timeline of Ideas: Live Art in (Art) History, A Primarily European-US-based Trajectory of Debates and Exhibitions Relating to Performance Documentation and Re-enactments – Amelia Jones   DIALOGUES   Introduction Adrian Heathfield   Chapter 34: Interior Squirrel and the Vicissitudes of History – Carolee Schneemann and Amelia Jones   Chapter 35: I Just Go in Life – Tehching Hsieh and Adrian Heathfield   Chapter 36: The Maybe: Modes of Performance and the “Live” – Tilda Swinton and Joanna Scanlan   Chapter 37: Photography as a Performative Act – Shezad Dawood and Amelia Jones   Chapter 38: Do it Again, Do it Again (Turn Around, Go Back) – Iain Forsyth and Jane Pollard, with Andrew Renton   Chapter 39: Touching Remains – Janine Antoni and Adrian Heathfield   Chapter 40: Perverse Martyrologies – Ron Athey and Dominic Johnson   Chapter 41: The Live Artist as Archaeologist – Marina Abramovic and Amelia Jones   Chapter 42: Every House Has a Door – Lin Hixson and Matthew Goulish   Chapter 43: Alliterations – Mathilde Monnier and Jean-Luc Nancy Introduction and Translation: Noémie Solomon   Chapter 44: Intangibles – Hugo Glendinning, Adrian Heathfield, and Tim Etchells  

'A work of art can never be produced the same way twice. ... this concern ... continues to provoke a multitude of questions and opinions regarding how works should be documented and re-created. ... [Jones and Heathfield] address these concerns in relation to performance art, body art, and live art; simultaneously, they construct a history of these broad artistic fields.' – Caylin Smith, Moving Image Archive News   'The breadth and depth of Perform, Repeat, Record are astonishing and the range of artists, scholars and insights invigorating ... It leaves me overwhelmed.' – Caroline Wake, RealTime Arts   'An impressive collaboration between two of the field's most dedicated scholars.' – Lisa Newman, Artillery   'This is a weighty text in all senses of the term' – New Theatre Quarterly, Chris Gilligan   'In its exhaustive presentation of different types of performances, documentation, and critical approaches, it suggests a way of reading performance that is no longer beholden to modernist notions of transgression, transformation, and the avant-garde.' – A Journal of Performance and Art, Jennie Klein   '“[A] broad and thoughtful investigation of how the history of performative art should be documented and studied….The book covers a particularly international scope, with essays devoted to performance art in the U.S., Western Europe, South America, China, the Middle East, Australia, and the Soviet Union, including a timeline of Soviet and Post-Soviet performance and another of performance historiography–that is, surveys and re-performances. The final section records eleven conversations between scholars and performance artists, including Carolee Schneemann, Tehching Hsieh, Ron Athey, Janine Antoni and Marina Abromavic…. The book will be very useful for scholars of performance and can serve as an introduction to the history and questions around the field for performance artists themselves.”' – The Drama Review, Pannill Camp   'The collection offers a wealth of research on previously little researched work.' – Drama and Performance Studies   'Taken as a whole, then, 'Perform, Repeat, Record' embraces the mammoth task of challenging how history making occurs within this field of contemporary art. Embracing a diverse and unconventional range of responses to the provocation ‘How does live art get remembered?’, it has implications for the broader field of historical discourse' – Limina, Janet Carter   'A valuable sourcebook and toolbox' – Theatre Journal, Marie Pecorari   '[A] broad and thoughtful investigation of how the history of performative art should be documented and studied….The book covers a particularly international scope, with essays devoted to performance art in the U.S., Western Europe, South America, China, the Middle East, Australia, and the Soviet Union, including a timeline of Soviet and Post-Soviet performance and another of performance historiography–that is, surveys and re-performances. The final section records eleven conversations between scholars and performance artists, including Carolee Schneemann, Tehching Hsieh, Ron Athey, Janine Antoni and Marina Abromavic…. The book will be very useful for scholars of performance and can serve as an introduction to the history and questions around the field for performance artists themselves.' – Artblog, Andrea Kirsh