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Based on Marina Abramović’s practice of performative art, aspiring to constitute performance art as an art of repertoire, I offer in this paper an ontology of performative artworks. Is it possible to reenact a historical work, as we would perform a musical work, defined by its score? My philosophical concern here falls within an applied ontology, sensitive to concrete and pragmatic problems raised by artistic practices such as identification, preservation, and exhibition. I successively examine three hypotheses: an artistic performance is an event-type identified by its script and with multiple instances; an artistic performance is the utterance of an idea; an artistic performance is an event-type indicated both by the history of its composition and by its first enactment. These various elaborations drive us to question the function of the artist-performer in the work. I draw the following conclusion: we must consider, beside scripts and score, some felicitous conditions of the work.