n this paper the author tries to broaden the conceptual field of the unrealised artwork to include thefate of that which is subject to inevitable processes of transformation.Like any vital process, transformation introduces new elements of meaning and new possibilities ofcognitive connections together with, sometimes spectacular, physical changes in the material of whichthe work is composed. One can question the idea that the work of art must have a finite andimmutable material configuration, as well as a determined historical-critical interpretation. One canthink that the artwork is alive, precisely because it is not realised.