40 minutes of Van Gogh in NYC is a work that addresses the post-photographic condition through a selection of 60 images from the 142 photographs taken during the 40 minutes we spent standing in front of Vincent van Gogh’s painting Wheat Field with Cypresses (1889). During our visit to the Metropolitan Museum of Art in New York, we observed how different individuals approached the most iconic works of art with the sole intention of capturing them with their mobile devices, thus being able to assert, “I was there,” thereby inserting themselves into the photographic poem described by Barthes (1989), “this has been” (p. 125). The immense amalgamation of mobile devices gathered in front of the canvases constitutes yet another manifestation of the post-photographic condition in which we find ourselves immersed, a reality shaped by “the function of images: circulation prevails over the content of the image” (Fontcuberta, 2016, p. 39). In this sense, through this sequence, we propose an approach to the image as a document, acknowledging that when images perform the function of visual inventories, they can be understood as archives—not only of the photographs themselves, but also of the objects depicted within the image (Van Alphen, 2018, p. 221).