This essay considers the rhetoric of space in a rapidly transforming culture. Using Michel Foucault's concept of "heterotopias" to understand the rhetorical power of a building's disposition, it is argued that the Jewish Museum Berlin contains two heterotopias, one within the other. The first is Daniel Libeskind's original building design in relation to the surrounding city, but the second is the placement of an art installation, Menashe Kadishman's "Shalechet," in a central location within the museum. The doubling of heterotopian space uses dialectical--rhetorical transcendence to build identification with the museum's message for an increasingly international audience. (Contains 2 figures and 99 notes.)