In the past few decades, Poland has seen a growing number of attempts to reclaim its Jewish past through traditional forms such as historiographic revision, heritage preservation, and monument building. But a unique new mode of artistic, performative, often participatory “memory work” has been emerging alongside these conventional forms, growing in its prevalence and increasingly catching the public eye. This new genre of memorial intervention is characterized by its fast-moving, youthful, innovative forms and nontraditional venues and its socially appealing, dialogic, and digitally networked character as opposed to a prior generation of top-down, slow moving, ethnically segregated, mono-vocal styles. It also responds to the harsh historical realities brought to light by scholars of the Jewish-Polish past with a mandate for healing. This article maps the landscape of this new genre of commemoration projects, identifying their core features and investigating their anatomy via three case studies: Rafał Betlejewski’s I Miss You Jew!; Public Movement’s Spring in Warsaw; and Yael Bartana’s Jewish Renaissance Movement in Poland. Analyzing their temporalities, scopes, modalities and ambiences, as well as the new visions for mutual identification and affiliation that they offer Poles and Jews, we approach these performances not as representations, but rather as embodied experiences that stage and invite participation in “repertoires” of cultural memory. Different from simple reenactments, this new approach may be thought of as a subjunctive politics of history—a “what if” proposition that plays with reimagining and recombining a range of Jewish and Polish memories, present-day realities, and future aspirations.