Rodrigo Vila’s Lisbon is gradually drawn up as an articulate of stones engendered by people and cemented by details, overlapping at first sight with expressions, patterns, colors and gestures. The fragmented images speak of the impossibility of grasping the city in its entirety and with a single center. The center that represented a specific geographical place, marked by monuments, intersection of certain streets and avenues, theaters, cinemas, restaurants, no longer exists. The city of Lisbon by Rodrigo Vila is reminiscent of the representation of Win Wenders, in Lisbon Story (1994) as a space for the recovery of childhood lived in the city and is also a space of the recovery of the image of a place. Even in cities impregnated with signs of the past, such as Berlin or Lisbon, the shortening of the present and the doubt about the uncontrollable future are reducing factors of temporal experiences. While in modernity, the city with its backdrop of new buildings and tumultuous streets offered photographers new sources of inspiration, in postmodernism the city is a no-place. Formed by an amalgam of also non-places. In this context, and armed with a pinhole, Vila plunged into the city on the path of the city from the passenger’s point of view portraying a multitude of stories as banal as real and the absent expressions of the inhabitants of a postmodern city.