In this essay, I provide a new critical consideration of the works of the semiologist Roland Barthes and the artist Victor Burgin. The influence of Barthes on Burgin’s work is well documented. Equally, Burgin’s prominence as a theorist concerned with text and image offers a productive dialogue with Barthes’ work. The interaction between the two is most apparent in my mind when they discuss the limitless possibilities of the panorama and panoramic vision.