ABSTRACT This paper examines the issues inherent to documenting integral characteristics of variable media artworks. The author begins by revisiting Suzanne Briet's vision of documentation as a socially constructed practice central to the creation and dissemination of knowledge. This perspective lends insight into the nature of the document in the digital age and suggests a new cultural technique for working with variable media art as both document and documented. Janet Cardiff's 40 Part Motet (2001) provides case material for this discussion, and Richard Rinehart's proposal of the score as a documentary medium is suggested as a means of capturing the elements of practice and performance associated with variable media.