夏宇的詩歌實驗一直存在觀念寫作的一面，依照此路徑重新檢視夏宇的詩，會發現當代詩早已以「非創意」的思維，針對寫作方式、閱讀方式、文體範式等重新展開想像，尋求著一種不依賴經典性表述、更傾向引發直接感受與思考的藝術。夏宇的觀念寫作也直接影響了詩刊《現在詩》，尤其以她主編的第九期《劃掉劃掉劃掉》為代表，在中文詩裡新建了作為觀念寫作實踐方案的「劃掉詩」。《劃掉劃掉劃掉》首先是編輯群創作的總體性觀念作品，其次才向眾多寫作者發出再創造的邀請。它主動迎向當代生活中文本大豐富的困境，圍繞「潛文本」的理念，在既有文本之上開闢出個體的心靈活動空間。多數參與者在執行過程中積極發揮創意，為總體計畫尋求最具價值的藝術形式。與主流詩學不同的是，「劃掉詩」以「創新」觀取代了固有的「原創」觀，在數位時代的衝擊下另覓別樣的文化「深度」。

There is a conceptual-writing style in Hsia Yu’s poetic experiments. If we re-examine Hsia Yu’s poems from this perspective, it is obvious that contemporary poetry has already re-imagined writing styles, modes of reading, and stylistic paradigms in an “uncreative” way, pursuing a new kind of art that does not rely on classic expressions but tends to trigger direct feelings and thinking. Hsia Yu’s conceptual writing has also influenced Poetry Now, especially as represented by the ninth issue of Cross Out Cross Out Cross Out edited by her. Through this issue, the cross-out poetry is born as a new practice of conceptual writing in Chinese poetry. This book is firstly a general conceptual work created by the editors, and secondly an invitation to potential writer-participants for re-creation. The issue confronts the dilemma of textual abundance in contemporary life, centers on the concept of “subtext,” and opens up individual spiritual spaces in existent texts. Most participants show their creativity in the implementation process, seeking the most valuable artistic form for the plan. Unlike the poetic mainstream, the cross-out poetry replaces the concept of “originality” with “making it new,” and finds another kind of cultural depth under the impact of the digital age.