In this article the author argues that there is no essential difference between pornography as document and the documentation of performance art. Both are defined by the specific way they are positioned in relation to the profilmic event which are coded in retrospect as real. It is also suggested that considering porn's production of affect can shed light on the turn towards performance reenactment that has taken place in performance art of the past decade. Thinking about porn in this new way can move it towards a new conversation about how porn records and produces affect rather than prior conversations surrounding feminist academic discourse and questions of censorship, freedom of expression and identity.