In addition to being a founding member of the Pécs Workshop, PINCZEHELYI also created individual works in the seventies. Segmentation of A Poem fits into the series of his works dealing with texts and letters (Wasser, 1973; Tamás Wasser, 1973; Our Daily Bread, 1974; Soup, 1974; Ashes to Ashes, 1974, Object, 1976, etc.), which he made between 1973 and 1976, and is related to his works of the same approach, which all followed the principle of breaking up the image by cutting, reversing and restructuring it. Pinczehelyi has always been a preoccupied with the distortion and cropping of letters and texts, and visual poetry was at the centre of attention in the visual arts during this period, as shown by the numerous exhibitions with similar themes. Segmentation as a (de)compositional technique was part of the literary-theoretical, structuralist narrative of the time. The work chosen as a starting point was the dedication of the poems of Janus Pannonius by the humanist scholar and canon of Varad, Sebestyen Magyi, who published the poems in Bologna in 1513. The text was shown in print form at the 500th anniversary exhibition of Janus Pannonius’ death in Pécs, and Pinczehelyi reused it. He divided the enlarged photograph of the poem into four equal parts, cut it in a specific order, vertically, horizontally and diagonally, and rearranged the fragments. He was interested in how much of the original text was preserved and what visual experience was created by the fragments thus cut up and reversed. The poem, already lost in historical perspective because of its contemporary language, is made even more mysterious by the “rearrangement”, foregrounding a kind of strange, exploratory, wandering reading.