Get the Picture positions itself within a rich tradition of immersive cultural journalism, particularly following the model of participatory investigation pioneered by George Plimpton in works like Paper Lion (1966) and refined by contemporary writers like Barbara Ehrenreich in Nickel and Dimed (2001). Bosker’s approach, which she previously employed in her 2017 wine industry investigation Cork Dork, involves total immersion in a specialized community, combining rigorous reporting with personal transformation narrative. This methodology places her work in conversation with other notable cultural investigations like Sarah Thornton’s Seven Days in the Art World and Anthony Bourdain’s Kitchen Confidential, which similarly unveiled the hidden mechanisms of exclusive professional domains.

The book’s hybrid structure, weaving together investigative journalism, memoir, and art criticism, reflects an emerging genre of cultural exploration that includes works like Lawrence Weschler’s Seeing is Forgetting the Name of the Thing One Sees and Peter Schjeldahl’s Hot, Cold, Heavy, Light. Like these predecessors, Bosker approaches art criticism from an outsider’s perspective while maintaining journalistic rigor. However, she distinguishes her work by emphasizing personal transformation and accessibility, deliberately positioning herself as a skeptic-turned-advocate rather than an authority figure.