While traditionally the act of making artworks transpired in the artist’s studio, this process has been extended with the rise of conceptual, installation and performance art in the past century. Many contemporary works are designed to be activated in the museum and engage multiple staff members in production processes beyond their customary responsibilities and expertise. But when it comes to performance-based works this re-conceptualisation of traditional notions of artistic practice and the act of making is even more acute. Unlike more traditional works of art, performance works require continuous work and interaction throughout the period of an exhibition, as the museum works with the artist and performers to keep the work alive. This means that many more persons, staff members as well as others including hired performers and members of the public, are co-opted into the act of making. Informed by an investigation into two works by Tino Sehgal held at the Stedelijk Museum, Amsterdam, this paper explores how this ‘continued making’ challenges traditional notions of the art object and forces new dependencies for care within and beyond the museum. A new perspective is introduced though the concept of infrastructure as derived from the works of sociologist Susan Leigh Star.