Avant-garde poetry – in Latin America as elsewhere – has always responded vigorously to the challenges offered by technological change, and this continues to be true in relation to the advent of digital technologies and new media applications. This chapter first explores key questions of definition, terminology, and recurrent themes such as the critique of mass media and the exploration of posthumanist themes. It moves on to examine the relationship of this type of poetry to its literary antecedents, both in Latin America and globally, as well as flagging up the first exponents of this kind of poetry in the 1960s such as Argentinian Omar Gancedo. It then explores in more detail examples of some of the most common forms of (new) media poetry: digitally influenced but still printable poetry, including code poetry; visual and kinetic poetry; digital multimedia poetry; interactive and hypertext poetry; generative poetry; and digital sound and performance poetry. Specific attention is devoted to poets/artists such as Ana María Uribe (Argentina), Belén Gache (Argentina/Spain), Wilton Luiz de Azevedo (Brazil), Eduardo Navas (El Salvador/USA) and Gustavo Romano (Argentina/Spain).