When it comes to poetry translation, the visual aspect of a source text is rarely considered a determinant feature, unless it is a calligram. Yet, for many contemporary poets, the poetic treatment of space and print characters is at least as important, if not more important, than the treatment of sound. A case in point is Argentine poet Alejandra Pizarnik (1936-1972), who lays considerable emphasis on poetic spatiality, both in her writing process and in her poems. Pizarnik, who was also a painter, used to draw her poems on a blackboard or a sheet of paper posted on a wall before writing them. Her picture poems tend to be so short and plain-looking that Thorpe Running compares them to ‘negative paintings’. In her poetry, the treatment of blank space and typography is far for being of secondary importance. Pizarnik’s fourth poetry book, Árbol de Diana (AD), contains particularly good examples of ‘negative paintings’. It is composed of 38 short poems, which take up a third of the page at the most, and contain very few punctuation marks. This contribution will focus on how translators Juana Burghardts and Tobias Burghardt treated these visual features of AD’s poems in their German translation entitled ‘Dianas Baum’. In their postscript, the Burghardts declare that they translated Pizarnik faithfully by using the natural resources of the German language, which could be termed a functional or target-oriented approach. However, this analysis of the way in which they approached Pizarnik’s poetic treatment of space will show that, in fact, the translators produced rather adaptative versions, whose appearance differs from Pizarnik’s typical style.