The paper presents one of the most interesting experiments in the Gellu Naum’s Surrealist repertoire, The Advantage of Vertebrae, a cycle of collage poems, created originally in the 40’s, but published late in 1975’s book Describing a tower. The poem is de-poetized by removing its teritory to the new context of the fashion-plate’s illustrations. The structure of the text is decomposed, disjoined, unbridled, oblated to the level of a signature under a photo. Altough it rejects traditional versification and even punctuation, Naum’s work is far from being an uncontrolled, amorphous outpouring of the unconscious; in the middle of this graphic/textual teritory, poetry seeks for its own destination. The text is not only de-formed, but, what is more important, re-constructed in the process of the fluid transformations, subsequently functioning more as an object then a traditional poem. This strange piece of art could also anticipate the formal experiments of the 50’s and 60’s notably the concrete poetry or be treated as a representative of liberature, the category suggested by Polish poet Zenon Fajfer back in the late 90’s. Fajfer underlines the material aspect of literature as an object: in this point of view, The Advantage of Vertebrae becomes the laboratory of the poetry itself, gaining a new, unlimited identity. In consequence, it can no longer be interpretable, analysis being a sole form of investigation.