The Peoplemover does not merely transform what might otherwise be wall-hung or anthology-bound works of concrete poetry into tools for protest; it more fundamentally demands interpretation of what such a transformation of art into activism means in 1968. Solt’s “demonstration poem,” as she calls it, is a revealing engagement with the formal problematics of concretism and the historical contradictions concomitant with the rise of New Left protest politics in the U.S.