Het Chileense kunstcollectief Casagrande, dat grootschalige poëziebombardementen uitvoert in steden die ooit, recent of minder recent, daadwerkelijk gebombardeerd zijn. Die symbolische geste onderging in de Londense performance, afgelopen (Olympische) zomer, enkele problematische transformaties. Yuka Igarashi analyseert op de New Inquiry de mechanismen achter de symboliek van de performance, de spektacularising van poëzie en de grimmige economische realiteit die ze toedekt:

And together with Poetry Parnassus itself, it emphasized the idea of poetry, and culture more broadly, as diplomacy, as a kind of annex of international relations (peace on Earth; every nation represented). All this effortful institutional packaging ultimately called attention to the very anxieties it tried to counteract. Making poetry accessible solidified the notion that it is difficult to access; publicizing it as exciting and insisting on its political significance affirmed that it was dull and inconsequential.