Emily Rose Lyver-Harris discusses the work of Francis Alÿs in an attempt to investigate the tension between live performance and its documentation. Lyver-Harris focuses on Alÿs’s Re-enactments, a two-channel video piece juxtaposing documentation of a performance and its recreation. By deconstructing Re-enactments, Lyver-Harris proposes the argument that the videos that document the live performance operate beyond the documentary mode and are fundamental to the work itself.