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Various authors have characterized the contemporary world through the notion of "structural hybridization" (Pieterse 2001; Canclini 2001, among others

This article addresses one of the leading challenging areas for those studying performance art today: its temporal dynamic, linked to the present, to the here and now. This temporal inscription is effectively at the core of the ontology of these pieces, which has repercussions in the relationship this art form has with the physical and conceptual spaces it occupies, and in the management of art collections that include them. Analysis of performance art temporalities will lead to a discussion of the spaces this genre has been occupying in artistic institutions. The values held by these spaces will be explored, and new ways of understanding them, especially in the relationship between university, museum and theatre will be proposed. This is the triad discussed by Jan Naderveen Pieterse in 1997 will serve as an analogy to reflect upon these issues. In this context, performance art pieces, artistic projects, and curatorial programmes from the Portuguese panorama will be presented as examples.