Rafael Barrios, Cafe Quito, Calle Bucareli, Mexico City DF, May 1977

Our visceral realist activities after Ulises Lima and Arturo Belano left: automatic writing, exquisite corpses, solo performances with no spectators, contraintes, two-handed writing, three-handed writing, masturbatory writing (we wrote with the right hand and masturbated with the left, or vice versa if we were left-handed), madrigals, poem-novels, sonnets always ending with the same word, three-word messages written on walls ("This is it", "Laura, my love," etc), outrageous diaries, mail-poetry, projective verse, conversational poetry, antipoetry, Brazilian concrete poetry (written in Portuguese cribbed from the dictionary), poems in hard-boiled prose (detective stories told with great economy, the last verse revealing the solution or not), parables, fables, theater of the absurd, pop art, haikus, epigrams (actually imitations of or variations on Catullus, almost all by Moctezuma Rodriguéz, desperado poetry (Western ballads), Georgian poetry, poetry of experience, beat poetry, apocryphal poems by bpNichol, John Giorno, John Cage (A Year from Monday), Ted Berrigan, Brother Antoninus, Armand Schwerner (The Tablets), lettrist poetry, caligrams, electric poetry (Bulteau, Messagier), bloody poetry (three deaths at least), pornographic poetry (heterosexual, homosexual, or bisexual, with no relation to the poet's personal preference), apocryphal poems by the Colombian Nadaístas, Peruvian Horazerianos, Uruguayan Cataleptics, Ecuadorian Tzantzicos, Brazilian cannibals, Nô Theater of the proletariat... We even put out a magazine... We kept moving... We kept moving... We did what we could... But nothing turned out right.

(Roberto Bolaño, The Savage Detectives, p. 196)

Did I mention my Readings tag?
Here's a first surrealist glimpse...