Vito Acconci’s early artistic practice combines textuality, visuality, and the involvement with the physical body. It also revolves around the tension between the transience of the performance and the various forms with which the artist’s activities have been devised, recorded, and documented. The voluminous archive that was assembled by Gregory Volk in the Diary of a Body 1969-1973 is worth examining in that respect, since these visual and verbal documents are not only secondary to the event, but make up an integral part of the artist’s early work. Therefore this essay revisits Vito Acconci’s notes and photographs as an assemblage that preserves the experiential substance of the artist’s practice, and also speaks of its in/transitive character, inviting reflection on the connections between writing, performance, and the ground of experience. A paratext to the performances and a continuation of his early writings, the diary is a storehouse that has a documentary value against the grain, which the essay dwells on.