Fluxus poetry embodies the interdisciplinary Fluxus ethos of the 1960s, using scores, objects, and happenings to subvert poetry's boundaries; it appears in works by artists like Jackson Mac Low to democratize art, emphasize process over product, and critique consumerism, fostering interactive, anti-elitist literary experiences that resonate in contemporary multimedia poetry.

Fluxus poetry emerged from the 1960s avant-garde Fluxus movement, emphasizing anti-art principles, intermedia experimentation, and ephemeral performance over precious art objects. Practitioners like Dick Higgins, Alison Knowles, and Yoko Ono created event scores, instruction pieces, and performance texts that blur boundaries between poetry, music, visual art, and everyday action. Fluxus poetry often consists of simple instructions ("Exit," "Drip Music") that prioritize process and participation over finished products. The movement challenged poetry's typical reliance on page-bound text, instead creating situations where language triggers actions, events, or audience participation. Fluxus techniques include chance operations, found materials, humor and absurdity, democratic accessibility, and resistance to commercial commodification. Understanding Fluxus poetry helps students recognize how poetry's definition expanded beyond traditional lyrics and narratives to include conceptual, participatory, and time-based practices. The movement's influence persists in contemporary conceptual writing, performance poetry, and installation-based textual art. When teaching Fluxus poetry, emphasize its historical context within 1960s neo-avant-garde movements and its ongoing relevance to expanded notions of what poetry can be and do.