The purpose of this paper is to examine the aesthetic negativity of each poet through the characteristics of the subject of enunciation appearing in the poetry by Kim Soo-young, Kim Jong-sam and Jeon Bong-gun in the 1960s. The reason for putting forward the concept of the subject of enunciation to this end is that the subject of enunciation in poetry is the subject of the poetic order that constructs the enunciation of poetry. For this reason, examining the process in which the subject of enunciation in poetry realizes meaning is the basis for verifying the poet's creative methods and aesthetic consciousness. Therefore, I intend to identify the significance of the three poets' aesthetic negativity and thus redefine their status in literary history during this period. The 1960s was a difficult period for politics, society, culture and so on, but it was also an important period. Above all, the strengthening of censorship in literature during this period created a situation in which poetry was forced to be directly related to political change. Against this situation, the three poets established their poetic world with intense creativity. In literary history, the 1960s is defined as a period of confusion and ambiguity or a period of "process" toward the 1970s, having April 19th as a spiritual origin and stronghold. However, to shed light on this period divorcing this view or dichotomous characterization, it is necessary to ask questions that cross the two domains of the social realities of the 1960s and the inner world of a poet without drawing a boundary. If a poem is the trajectory created by a poet in the process of asking questions about the problems of poetry and reality at the same time, and answering them, the characteristics or the subject of enunciation in poetry provides important clues to explain the principle in tracking it. This is because the way in which the characteristics of the subject of enunciation' speech or behavior are revealed is a structured and visual approach. This is also because the subject of enunciation revealed in the poems of these three poets shows distinctive differences, responding to each other at three apex of "practice," "observation," and "fantasy." Above all, the general structure of enunciation and the perspective of the subject of enunciation are closely related to the perception of the world, so they can be examined in a comprehensive context, encompassing form and content without being biased toward dichotomous discourse. In particular, it is noted that the aesthetic consciousness pursued by the different subjects of enunciation revealed in the poems of the three poets has "negativity" in common. The three poets' "negativity" as aesthetic consciousness can be seen as having internalized the political and social realities of the 1960s and aesthetically transformed them into poems. Their poems in this period can be largely categorized into three types from this perspective. First, Kim Soo-young's subject of enunciation characterized by "practice" realizes silent "avant-garde". This subject leads the current situation in a manner to give an impetus through exhortative speech and the parallel repetition of enunciation. The disillusioned and negative gaze of the subject on politics or reality induces new changes to the present, accompanied by self-accusing enunciation. The subject of enunciation characterized by "practice" actively engages in the disillusionment and injustice of suppressed politics through active speech. Above all, it breaks the boundaries of heterogeneous and diverse objects and expands solidarity through parallel repetition of enunciation, or uses experimental strategies with linguistic playfulness. It has the avant-garde idea that enunciation techniques such as humor, play of words, and irony become a poem in itself rather than giving any meaning or interpretation to the poem. Furthermore, when this experimental linguistic strategy has a political characteristic, embracing denial or oppression of reality, it seeks aesthetic avant-garde of "silence". Second, Kim Jong-sam's subject of enunciation characterized by "observation" realizes tragic "sublimity". This subject leaves a space or keeps a certain distance without intervening in the contents or circumstances of the poem through contrasting repetition or elliptical technique of enunciation. This observational subject of enunciation takes an approach of describing the situation or landscape and reproduces the historical events of the past or the traumatic experiences of the individual in enunciation. When isolated amid the duality of ethics & compassion and the need to protect himself from reality or when tragic feelings are heightened, this subject faces the absolute world of the sublime. This sublimity is related to classical music, which freely crosses the time and space of consciousness and moves on to the absolute world through uplifting the mind, such as ecstasy and grandeur. Third, Jeon Bong-gun's subject of enunciation characterized by "fantasy" realizes “grotesque”. This subject makes the contents of the poem unfamiliar or drags the poem into a grotesque situation by raising tension through a gradual repetition of enunciation. This subject, which exists between dreams and reality, and between life and death, throws an uneasy look at the future that has not come through disconnected and fragmentary enunciation. The confined subject of enunciation, which is usually revealed in Jeon Bong-gun’s long poems and series of poems, desires Eros, but the anxiety that comes from being cut off from others makes him further cling to Eros or incites a sense of deficiency about absence. Furthermore, it shows a characteristic of opposing and attempting to overthrow the existing world or the negative order. Grotesque is an aesthetic consciousness of unpleasant and unfamiliar emotions, such as exaggeration or distortion, bizarreness and cruelty, which exists at the tension between reality and fantasy. It reveals the crisis of identity of the subjects between the center and the periphery, and the domination and the subordination, overthrowing the existing values and opposing them. The significance of aesthetic negativity in the poems of the three poets is that they have secured another possibility of poems in this period through various experiments, away from the existing dichotomous characterization or uniform trend. It is also a fierce critical look at the absurdities of the world and a non-reconciliatory attitude. The reason why art or poetry chooses denial in confrontation with the world is that reconciliation can never break the shackles of absurdity and oppression in the world. Finally, another significance is that they preempted "free aesthetic consciousness" from political censorship. The aesthetic negativity of the three poets in the 1960s, when confusing and contradicting things coexisted in the history of the times and literature, illustrates well the process of their realistic anguish and the search for new poems. In addition, it became the reference for confirming the complex and multilayered psychology and mental structure of literature during this period without an exit. Furthermore, it has had a great influence on many poets since the 1970s, presenting new possibilities for the content and form of poetry.