This chapter is concerned with interlingual and intermedial translation as a poetic procedure in the Brazilian concrete avant-garde of the 1950s/1960s, with a focus on de Campos’ intraduções. In the poetic genre of intraduções, short poems and text fragments by other artists are translated and recoded in a ‘verbivocovisual’ polysemic structure that recalls Baroque emblematics. In a corpus of 41 poems, published in four books from 1979 to 2015, de Campos retrieves certain lineages of literary tradition reclaimed as predecessors of the concrete movement, especially Pound’s ‘make-it-new’ poetics and his tripartite conception of poetry as phanopoeia, melopoeia and logopoeia. This contribution de Campos has made to the intermediality of image, sound and text is singular, insofaras it represents a strictly translational experiment in the medium of poetry.