The Columbus Review operates as a literary and arts magazine with a clear investment in visual culture that resists the merely illustrative. Its call for cover and visual art submissions is deliberately capacious in aesthetic range—surreal, figurative, art deco, German expressionist, absurdist, experimental photography, digital manipulation, and mixed-media—yet exacting in format: single-image works only, composed to an 8.5 × 11 aspect ratio, at a minimum of 3000 pixels on the longest side and 300 dpi. Up to three pieces may be submitted in a single file (.pdf, .jpeg, or .png). The review maintains a blind submissions process, which places the work itself, rather than the artist's name or prior exhibition history, at the center of the jury's encounter. What the publication offers is not payment—none is currently provided—but a defined editorial context: First North American Serial Rights are acquired, and the most beloved piece among the submissions will be selected as cover art, accompanied by an 'About the Cover Artist' section. That distinction carries a particular kind of visibility: the cover functions as the issue's first argument, and the accompanying profile situates the artist's practice within the magazine's broader curatorial conversation. The review's stated interest in boundary-pushing work suggests a preference for images that hold their own as autonomous visual propositions rather than as narrative accessories. The curatorial vision here is one of disciplined experimentation. The magazine's list of touchstones—surrealism, expressionism, absurdism, digital and mixed-media experimentation—points toward work that is conceptually legible but formally restless. Artists should note that previously unpublished work is required, and that the blind review process means the submission file should contain no identifying information. The rolling deadline allows for ongoing consideration, but it also means that submissions are evaluated as they arrive, without the rhythm of a fixed reading period.