In the spring of 1990, Trinh T. Minh-ha, an American filmmaker, writer, multidisciplinary theorist, artist, and composer, and presently emerita professor of Comparative Literature and Art Theory at UC Berkeley (born in 1952 in Hanoi, Vietnam), published the seminal article “Documentary Is/Not a Name” in October magazine. There she ferociously argued: “There is no such thing as documentary—whether the term designates a category of material, a genre, an approach, or a set of techniques. This assertion—as old and as fundamental as the antagonism between names and reality—needs incessantly to be restated, despite the very visible existence of a documentary tradition.” The chapter studies Minh-ha’s refuting argument delving into the logical problem of the “slash” constituting the “Is/Not a Name” problem. Throughout the chapter I argue that Minh-ha’s logic and negating arguments posit not only a logical challenge but a symbolic documentarological predicament at the gate of the volume’s exploration of the meaning of its object of curiosity—Documentary—over a period of three decades.