The tomb of Benia TT343, supervisor of construction work, is situated at the foot of the south-eastern hills of Sheikh Abd el-Qurna, in midst of further tombs of the 18th and 19th dynasty.

Dating the tomb precisely is a difficult task and is still debated, because there are no names of rulers mentioned anywhere in the tomb. The next tomb maybe contemporary and certainly the next geographically is that of Amen-hotep TT345 from the time of Hatshepsut and Thutmosis III.

According to Helck, there is a vertical (social level) and a horizontal (chronological) sequence in the tombs of the el-Qurna hills. The location of Benia's tomb is therefore within the inferior limestone area at the foot of the hill, which matches his middle class position in the hierarchy of royal officials, whereas his horizontal tomb position suggests a date at the time of Hatshepsut. Scholars date Benia's career, because of this, into the second half of the reign of Thutmosis III. But art-stylistic reasons come from the time of Hatshepsut until Amenophis II, even leading into the late 18th dynasty:

The ground plan, in the form of an inverted T, is typical for the time of Amenophis II- Thutmosis IV, but there are earlier examples from the time of Hatshepsut onwards. The style and clothes are typical for the early 18th dynasty. The combination of painting plus relief comes either from the time of Hatshepsut/Thutmosis III or Amenophis III/Akhnaton. The lozenge and zigzag pattern of the ceiling starts from the time of Thutmosis III, but are predominant between Amenophis II to Thutmosis IV. The wigs only occur between Thutmosis III - Amenophis II. Tombs naming the valley temple of Thutmosis III belong to the time of Thutmosis III - Amenophis II.

The forecourt is surrounded on three sides by a stone wall made of limestone, to prevent falling stones and garbage from the surrounding houses of the current inhabitants of Qurna. Ongoing reconstruction and restoration work has been done and changed the state of the tomb since the last photographic documentation of 1927 by Mond and Emery. The tomb has been under restoration since 1925-26. After the tomb had been thoroughly cleaned, an iron door was set into the entrance and the disturbed architectural areas and reliefs were infilled with concrete. Later there was some more work done by Siegfried Schott between 1931-37. Some destruction goes back to ancient times, especially to the faces of the people in the tomb. Some destruction has been as a consequence of erasure of the name of Amun during the Amarna period. It is not clear, who made the very obvious and large number of drops of paint all over the tomb painting. Some scholars propose, that this was done in antiquity, some propose this was due to the restoration work at the beginning of the 20th century. The tomb itself is in a very good condition, which results from the fact, that it has never been inhabited by people as a house. A metre of sand and debris were found on the tomb floor, which contained the relics of 5 plundered mummies.

The south wall of the transverse hall depicts a false door, or door of appearances, with funerary texts. The whole wall is been crowned with a kheker-frieze. To the right, directly below the door of appearances, lies the shaft opening. The door was sculpted in limestone, then painted pink and daubed with red-brown colour in order to imitated pink granite, which was expensive and hard to work. The inscribed hieroglyphs were painted blue, the rounded edges were over-painted to portray being wrapped in green ribbons, the cornice was embellished with green stripes. The lower part of the sculptured modelling, which originally went down to the floor, is today replaced with cement (note: the side registers do not extend to the floor). The inside door surface is formed by successively insetting the text areas until reaching the "opening" structure. The narrow centre mat of the opening has been rolled up and opened, as if to allow the deceased exit from it at any moment.

The first scene on this southern part of the east wall, next to the door (view 12a, a colour photo is not available)  shows a scene of Benia standing in adoration before a table piled with offerings (view 13). At the very top are four vases with lotus flowers laying across their tops.