Ahead of this, he would not be forcible to say that with Anti-Picture, Max Martins initiates its incursion for the call ' ' Concreta' poetry; ' e, we advance, never plus it will abandon such experiences, exactly that never if it has really filiado to this literary movement. Really, Max Martins never said ' ' poet concreto' ' , however, almost impossible not to recognize in its poems positions widely divulged, teorizadas and defended for the concretistas of the decade of 1950, such as: ' ' the words in this poetry act as objects autnomos.' ' , ' ' the concrete poems would be characterized for one irreversible optics-sonorous estruturao and funcional' ' , ' ' the poem is form and content of itself exactly, the poem is. the idea-emotion is integrant part of the form, vice-versa' ' ' ' the poetical nucleus is rank in evidence not more for the successive and linear chaining of verses, but for a balance and reception system between any parts of poema' '. (All the fragmentos had been removed of the book ' ' Theory of the Concrete Poetry: critical and manifest texts 1950-1960' ') This ' ' position concreta' ' of which we speak in the previous paragraph, it can be found, for intent eyes, in the majority of the poems that compose Anti-Picture, becoming more evident in poems as ' ' Aprendiz' ' , ' ' Copacabana' ' , ' ' A' subject; ' ' ' Variation of a' subject; ' , over all because of it I appeal existing appearance in them. In ' ' Copacabana' ' , for example, it has a species of alternation between suggestive words of sea with suggestive words of sex, as in verses: ' ' in the green-sea-blue one sexos are spilled in areia' '. This game with a words will be happened again all during the poem, what it finishes for generating a similar movement to ' ' it goes-and-vem' ' of the waves of the sea.