Anne Bénichou loosely links seminal museum exhibitions about historical or recent performative works with the publication in 1988 of the first “general” history of performance by RoseLee Goldberg, Performance Art: From Futurism to the present. “Exposer l’art de la performance : un laboratoire historique ? L’hypermédia, l’hétérotopie, le répertoire et la parallaxe”, in THEMA. La revue des Musées de la civilisation, 2015, 3, pp. 65-80.
 On studies of important exhibitions and the history of major museum’s relationship with dance, see the writings of Anne Bénichou, and “The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney”, by Claire Bishop in Dance Research Journal, Volume 46, Issue 3 (Dance in the Museum), December 2014, pp. 63-76.
 See the catalogue ‘Rétrospective’ par Xavier Le Roy, Ed. Bojana Cvejić, Dijon: Les Presses du réel, 2014. Retrospective was performed in Barcelona, Spain (2012); Musée de la danse, Renne (2012), Salvador, Brazil (2013); Rio de Janeiro, Brazil (2013); Centre Pompidou, Paris (2014); and MoMA-PS1, USA (2014), and other venues.
 Scott deLahunta, “Publishing Choreographic Ideas: Discourse from Practice”, Research Seminar, University of Roehampton, Centre for Dance Research, January 14 2015. https:// www.youtube.com/watch?v=x9o8nY8mMyU. Accessed on 15/02/2017.
 All co-authored with Bojana Cvejić: A Choreographer’s Score: Fase, Rosas Danst Rosas, Elena’s Aria, Bartók, En Attendant & Cesena: A Choreographer’s Score, and Drumming & Rain: A Choreographer’s Score, all published by Rosas & Mercatorfonds, Brussels, respectively in 2012, 2013 and 2014.
 Quoted in Erin Brannigan, Erin Brannigan in “Dance and the Gallery: Curation as Revision”, in Dance Research Journal, Volume 47, Issue 1, April 2015, p. 5
 André Lepecki, “The Body As Archive: The Will to Re-Enact and the Afterlives of Dances”, in Dance Research Journal, Volume 42, Issue 2, January 2010, p.31.
 “Het is voor mij een manier om te archiveren. Ik kan mijn werk alleen maar archiveren door het weer te maken en te laten zien. Het gaat over het opnieuw aanraken en herbekijken van het materiaal. Je zou kunnen zeggen dat het een cover wordt van het werk van toen.” In Marc@Monday promotional programme. English translation by David Bergé.
 Marina Abramovic, “Reenactment. Introduction”, in Marina Abramovic: Seven Easy Pieces, Ed. Solomon R. Guggenheim Museum, New York: Edizioni Charta, 2007, p. 11.
 Marc Vanrunxt answering Trajal Harrell’s question in the present publication.
 In Jacques Derrida sense: “It is thus in […] domiciliation, in […] house arrest, that archives take place.” in Archive Fever: A Freudian Impression, Chicago, IL: University of Chicago Press, 1995, p. 2.
 David Bergé considers walking as a performative act: “my Walk Pieces diminish prosaic meaning, they abstract it and turn the ordinary components of city life into colours, shapes, lights; into reflections and movements. In this way, the walk becomes a platform for a self constructed experience, employing the urban as raw material.” (in the artist’s statement).
 Since Chapter 7 on the political ontology of performance art in Peggy Phelan, Unmarked: the Politics of Performance, London, New York: Routledge, 1993, pp. 144-166. On dance’s disappearance, see writings by Jacques Derrida, Alain Badiou, André Lepecki and Mark Franko.
 See David Bergé’s answer to Trajal Harrell’s question in this publication, which unveils the genesis of this work.
 This list is based in the credits of the dance performances published on Marc Vanrunxt’s dance company Kunst/Werk (which means Art/Work in Dutch).
 In David Bergé, “Antwerp: Marc Vanrunxt”, in Movement Research Performance Journal, Issue 39, Fall 2011, p. 15
 Rosalind E. Krauss, Passages in Modern Sculpture, Cambridge, Mass.: MIT Press, p. 204.
 See Object #7 in this publication.
 Conversation with David Bergé on 20 February 2017.
 “[…] In recent philosophy (for instance, in Graham Harman’s Tool Being and Guerrilla Metaphysics, Mario Perniola’s The Sex Appeal of the Inorganic, and Silvia Benso’s The Face of Things), literary studies (Barbara Johnson’s Persons and Things), critical theory (Jane Bennet’s Vibrant Matter), critical race studies (Fred Moten’s In the Break), and in some curatorial projects (Part Object Part Sculpture, Wexner Center for the Arts, 2005; Not to Play with Dead Things, Villa Arson, 2008; Thingly Variations in Space, Mokum, 2010)” referenced quoted in André Lepecki, “Moving as Thing: Choreographic Critiques of the Object”, in October, Issue 140, Spring 2012, p. 76.
 André Lepecki, op. cit., pp. 77-78.