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In recent years we have been witnessing the realisation of artistic projects that were conceived in aspecific situation, not realised and then produced in other contexts, in some cases even by differentpeople. These are not practices ofreenactment , i.e. the repetition of a work executed in the past, noreven aPlan B developed by the artist, but the enactment of projects that come to light for the first timein a context subsequent to the one in which they were conceived. In this essay, I propose defining thesepractices with the term post-enactment , identifying why we will increasingly be seeing projects of thiskind, and suggesting a possible taxonomy. One of the aims is to enhance awareness of the state ofprogress of the artwork project, the contingencies in which it is produced, and the artist's intentions: aseries of considerations useful for the valorization of the artist's work and the project as a critical method,rather than only as a work in a state of potentiality.