in which he contends that "the flow of the times in visio-textual art is away from the verbal." That may be so in this particular anthology and in the selection for Poetry Magazine, but having spent the last few months viewing hundreds of works from around the world, I would argue that there is a continuum of visual poetry being produced today from entirely verbal, i.e. concrete, to work with no "visible" verbal language. I don't see either end of the spectrum predominating. I contend visual poetry is carving deeply along every point of the visual-verbal continuum. The body of visual poetry--range, heft, depth--has never been richer.