How can one not infinitely arrive, and hence never arrive, at aporias? The aporia is, in part, simply the rhetorical device staged as a kind of mourning, where, like mourning, staging is a way of mobilizing impasse. This enactment is set forth primarily through Derrida's Aporias, combing through Heidegger, Levinas, Freud, and Agamben's notion of potentiality and a poetics of inoperativity. Crisscrossing this stage are sustained encounters with works by Caravaggio, Manet, The Atlas Group/Walid Raad, Duchamp, Frances Alÿs, Cezanne, Johanna Billing, and Carlos Amorales. Emphasizing the gerund, these stagings are sightings and citings (Samuel Weber), where "signifiability" is exposed in perpetuity, enabling a constant taking place, displacing, and replacing of signification.