Part 1: Interview
The book opens with an extensive interview. Important stages of Arias-Misson’s life are interwoven with insights into the development of his artistic work and the contemporary socio-political contexts of the time. At the same time, reflections on the artistic and literary contexts in which he was active (primarily in America, Spain, Belgium, France and Italy) are brought together with theoretical considerations on working “between” visual art and literature.

Part 2: Typewriter Poetry (Words for the Voice & Texts for the Page)
30 sound poems and 20 visual poems dating from the early 1960s have typographically been reconstructed in close consultation with the author. As the originals typescripts could not be reproduced (ink bleeding has made many passages unreadable), the poems were recreated letter for letter with a corresponding font. For the first time, Arias-Misson has recorded his sound poems, which are included on a CD.

Part 3: Poetry in 3D
In the context of the experimental poetry of the 1960s and 70s, Arias-Misson’s poem objects from the series Compositions, Standing Sheets, Polyptic Texts and Object Poems are singular in their complexity. These poems are not printed surfaces, but a plastic forms and spatial structures that represent his ambition to develop a three-dimensional poetry which is not subject to the restrictions of the surface of a page. The transparency of the shapes produces superimpositions and distortions, reflections and mirror effects of the texts that are impossible to create on a page. After separating from his wife Nela and moving again from America to Europe in the late 1980s, these works remained in storage in New York. While Arias-Misson continued to develop his work in Europe, the early pieces were forgotten for over two decades. It was not until 2015 that Arias-Misson regained access to them, which is why they have remained largely unpublished until now. Numerous works were photographed for the first time in preparation for the book.

Part 4: Photography, collages, prints
This chapter is primarily dedicated to the role of photography in Arias-Misson’s work. It includes for instance the cycles Imagic Concretism (1967), The Punctuation Set (1969), Merde (1971) and Oil Crisis (1973) as well as numerous collages, photos altered by handwriting and screenprints in which photos and texts are combined.

Part 5: Public Poems
The Public Poems are literary happenings in the course of which human-sized white letters are carried through various cities to create a “city text” in the style of concrete poetry. The first ones took place in 1967 as guerrilla interventions in the public space of Brussels – and later ones in Spain, which at that time was still coined by the regime of Franco-fascism. Eight Public Poems are represented by the most comprehensive photographic documentations published to date, together with drawings and accompanying texts of the author which provide insight into the conceptual background and the sequence of events.

Part 6: Bibliography, List of Exhibitions, Collections, etc.
Previously published compilations of solo and group exhibitions have been substantially revised and completed. In addition to monographic publications, overviews of Arias-Misson’s contributions to important journals for experimental literature, anthologies and catalogs have been put together. For the first time, a bibliography of international scholarly literature that refers to his work has been compiled and offers an important source for future research.