At Neon Tommy, Olivia Niland situates derek beaulieu’s Kern in a history of concrete poetry:

A decade later, current visual poetry is unabashedly modern, existing somewhere between contemporary art and the sparse nature of millennial poetry, it leaves itself open to many different interpretations and is likely to be divisive in its impact upon viewers. The format exists largely underground, a sort of niche sub-genre of poetry, but carries and undercurrent of avant garde experimentalism distinctive of visual poetry pioneers.

Read the full review here.