Departing from understandings of infrastructure as accrued material support, or the facilitating grounds for action, innovation, and change, this lecture-performance looks at seemingly less stable forms of sustenance for creative acts and their historical survival. What if we think of ongoing immaterial dialogic relations as forms of creative infrastructure? What might be their relation to confining and determining powers? One instance of these dialogues is the way in which historical performance works are being re-performed in fluid manifestations that destabilize how we currently conceive the archive, art historiography, museological display, and curatorial practice. This talk focuses on the affective transmission and carriage of radical aesthetic forces in such practices from artist to artist, from body to body, across various structural and institutional divides. What is being re-performed and re-moved here, and what might such animations have to do with the survival of some of the more ineffable and endangered qualities of performance?