One of the most elusive terms perhaps in the history of modernistic experimental poetics has been the term "Objectivism". First used by the pioneer poet Louis Zukofsky in his editing of the "objectivist" issue of the American periodical "Poetry" in 1931, then again in his "An Objectivists Anthology" in (1932) in which he included poets such as Basil Bunting, Lorine Niedecker, Carl Raskosi, and George Oppen who, as pioneer objectivist himself, suggested in his published letters that none of these poets actually "regarded themselves as objectivists" (DuPlessis and Quartermain, 1). The question then is, naturally, what is poetically and, culturally, particular about this body of poetry known under such a provocative term? How such a poetics could be disentangled from a prior, and in a sense also concomitant, equally influential currents of pioneer modernistic poetry known under the rubric "imagism"? This paper attempts to answer these questions in terms of the work of two main very famous poets Ezra Pound (1885 - 1972) as a representative of imagism and Louse Zukofsky (1904 - 1978) as a representative of "Objectivism". It will argue, that whereas Pound's poetics, and imagism at large, offers a formal concentration on a general perspective or world-view that lies beyond its works and through its various techniques of fragmentation, symbolic and referential multi-layered-ness, Objectivism focuses formally on the conceptual impressions of words and their abstract sonic and psychological impacts. This difference is carried through by Objectivism from latter experimental poetics such as Visual Poetry.