Carl Andre is considered one of the most important artists of the second half of the 20th century, and yet his concrete poetry remains relatively unknown. The critical omission with respect to his contributions to this field is especially curious given how early, voluminous, and innovative they have been. Moreover, there are rich conceptual crossovers between Andre’s Minimalist artistic practice and his experiments with the typewriter and felt-tip pen. The way in which his poems occupy the space of the white page resonates strongly with his goal to “seize and hold the space” of the white-cube gallery. Words are used as modular units to be arranged in sequential formation, equivalent to the bricks, blocks of wood, and sheets of metal that he configured against the gallery’s floors and walls. His use of these unaltered, manufactured materials echoes his use of the similarly standardized 8 ½ inch x 11 sheet of paper. The words that make up July 26 Movement Cuba Side 2 were evidently chosen and arranged on the basis of their respective lengths, such that they create the same zigzag pattern that he explored in numerous sculptures. The title alludes to the revolutionary movement that toppled Cuban president Fulgencio Batista in 1959, which derived its name from the failed 1953 attack on the Moncada military barracks in Santiago by a group of rebels led by Fidel Castro and Che Guevara. The reader is left to ponder the relation between this reference and sequences of words such as “men court proofs years hair men crimes men code courts skies hell…”