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I analyze Miguel Piñero's artistic production as it is depicted in the film Piñero and its implications for national, dual identity development. Using the rhetoric of the double consciousness by DuBois, Hebdige's Subculture and the Meaning of Style, and Weiloch's theory of oppositional capital, I locate the ways in which Piñero uses art to challenge hegemonic understandings of national identity, and ultimately finds comfort in the spaces of duality, living in both spaces simultaneously.