Christian Marclay’s The Clock (2011), the winner of 2011 Venice Biennale, is one of the most significant artworks of the new century. Marclay’s film is 24-hours long, bound to the clock time of lived experience. If you arrive at the film at noon, it is noon on screen, and so it goes for every moment. A remix artist, Marclay pillaged and resorted the cinematic archive of found footage from already existing movies (actually inscribed in hundreds of films and virtually distributed across spectatorial memories), to create a compilation that draws on and deviates the source material in the search for something new. In this case, he searched for cinematic images that spoke of time—clocks, watches, references, bodily postures, hourglasses, rhythms of life personal and collective. A film without end, Marclay’s The Clock undoes the tyranny of a regularized schedule that divides the time of art from the time of life. A playful and ironic mediation on “time-based art”, Marclay’s work resists the homogenous availability of contemporary media. Housed in gallery space, there are vast swaths of his film that will only rarely play before spectator’s eyes. Marclay’s film not only proposes time itself as an artistic medium, but demands that the spectator consider the temporal dimension of their aesthetic experience. Today, with the importance of time-based media in art, new sites and zones of “reception” uncoupled from the delimited hours of art institutions (museums, movie theatres, live performance), and the increasing indiscernibility of work time and leisure time characteristic of “affective labour”, the “when” of art is as much in question as the “what” of art was when Marcel Duchamp signed a urinal, displayed it in a gallery and declared it art. We need new critical paradigms for thinking the temporalities of aesthetic experience and the “eventness” of art itself.