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The concept of the work of art has been criticized and sometimes even rejected in relation to the study of theatre and performance art. For the critics the concept is too bound to literature and causal logic, too dependent on sender/receiver models of communication and on romantic ideas about organic wholes, and too permeated with economic reason concerning ownership and distribution to describe the dynamics of the performative event. This article counters this critique and suggests a more dynamic conception of the work of art in order to sharpen the analytical perspective instead of founding a new ontology of the theatre. The suggestion is evolved through and supported by an analysis of an interactive performance for children by Corona la Balance (2007).