Vertical case  •  H:114cm x W:84cm x D:40cm

26. "Zang tumb tuuum," by Filippo Tomaso Marinetti (1914)
27. "Un coup de dés..." by Stéphane Mallarmé (1897)
28. "The mouse's tale," by Lewis Carroll (1864)
29. "Horse," by Guillaume Apollinaire (c. 1918)
30. "Lettre-océan," by Guillaume Apollinaire (c. 1914)
31. "The murder of two men..." by Kenneth Patchen (c. 1958)
32. "Bomb," by Gregory Corso (1958)
33. "House..." and "How to be an army," by Kenneth Patchen (c. 1958)
34. "Manifesto—I," by Wyndham Lewis (1914)

Following another period of dormancy, where few examples of visual poetry are to be found, the genre was once again revived in the latter half of the nineteenth century, and has continued to appear with some regularity to this day.

The "frivolity" denounced by Johann Frisch and others in the late seventeenth century now became the chief asset of visual poetry embraced by such authors as Lewis Carroll and Guillaume Apollinaire. Their poems delight in the way they lead the reader's eye to-and-fro, following "light" verse that befits the shapes and layouts. Other writers like Stéphane Mallarmé used words in a more minimalistic or impressionistic manner, to evoke not shapes or motifs but feelings and moods.

On the other hand, visual poetry was also adopted by poets working in various "isms" of the post-Industrial era — Futurism, Vorticism, Dadaism — for its ability to reflect the chaos they found endemic to their era. Words in these poems swirl, explode, and spatter across the page like artillery in warfare or foot traffic in an overcrowded city.

The use of visual poetry to reflect and criticize the modern society surrounding it reaches its apex, perhaps, with the frequently sinister poems of American Beat Generation authors such as Kenneth Patchen and Gregory Corso.