Heller is recognized as a leading expert on Objectivist poets, poetry, and poetics. The impetus for his continued interest in this particular group of poets began with Heller's discovery of the poetry of George Oppen (and with whom he began a correspondence in the 1960s). Today he is acknowledged by some readers and critics as a Jewish Objectivist poet in the tradition of Oppen, Charles Reznikoff, Carl Rakosi, and Louis Zukofsky. His critical book on the Objectivist poets, Conviction’s Net of Branches, received the Di Castagnola Prize from the Poetry Society of America.

Throughout his career, Michael Heller has addressed contemporary avant-garde movements, Jewish and post-Holocaust poetry, poetics, and the literary environment of contemporary poetry. His is a style and gesture seen as joining personal tone with historic incident while reflecting on such themes as the nature of language, poetry, religion, and even memory itself. Heller's interests often point to a succession of American poetry that today is, for the most part, inflected by the American experimentalism of Walt Whitman and the "make it new" of innovators such as Pound and Williams along with infusions of European dada, surrealism, structuralist and post-structuralist thought.

"Aspects of Poetics," an important statement by Heller on his aesthetics, appeared in Samizdat in 2001.

A recent book of essays, Uncertain Poetries (2005), deals with the uncertain nature of twentieth-century poetry. In his preface to the volume, Heller refers to these pieces as "selected from nearly twenty-five years of work (and) ought to be read as something of an intellectual biography of a working poet". They address Heller's on-going dialogue and confrontation with such major figures as Williams, Pound, Stevens, Marianne Moore, George Oppen, Robert Duncan, Lorine Niedecker, Lorca, Rilke, and Mallarmé, along with poets in more contemporary modernist and postmodernist lineages.

Heller himself notes that:

If the concepts of uncertainty, disease, and anomie embody the condition of modernity itself ---as critics have also noted--- they also animate Heller's work. Concurrently, various commentators now recognize Heller's contribution to our understanding of how, although the poet embodies the exigencies of modernity, so to the poetic act can become an active shaping force which, through the charged field of poetic language, provides the hope of meaning for both history and experience.