With the theme of “re-enactment,” this essay explores how this concept can provide a noteworthy strategy of historical revisiting for both art history teaching and contemporary art exhibition. In the first half of the essay, we begin by arguing that re-enactment allows abstract and detached historical knowledge to be overlapped with vivid personal experiences, thus giving a new sensible interface to past events. In the second half of the essay, some contemporary works are used to illustrate that the basic strategy of reenactment is to replace representation with embodiment and indirect reading with immediate participation. It relies not only on solid historical evidence, but also aims to stimulate the personal imagination and feelings of the participants, making it a special form of practice that can only be actualized through the body. In this sense, we attempt to point out that, as an emerging field, reenactment studies has been discussed across history, archaeology, musicology, theater, film and media studies, and even contemporary art and curatorial practice, not only demonstrates the full potential of interdisciplinarity, but also holds a research value that cannot be ignored from the perspective of art historiography.