The new generation of Puerto Rican performance poets affiliated with the Nuyorican Poets Cafe during the slam era (post-1990) develop self-reflexive poetics that both depart from and continue the foundational Nuyorican poetries of the 1960s and 1970s. Willie Perdomo revisits outlaw poets (Miguel Pinero, Pedro Pietri) and singers (Hector Lavoe, La Lupe) in an effort to reflect on the paradox of a neoliberal city that commodifies Nuyoricans while perpetuating their historic exclusion. Mayda del Valle mines the rhythms and sounds of salsa for a vernacular speech act that can found new modes of counterpublic relation, beyond discourses of recognition and visibility. Whereas recent debates among Latino Studies scholars have emphasized distinctions between the decolonial politics of the 1960s/1970s and a market-savvy “post-1960s” politics, these younger poets split the difference between pragmatic and oppositional poetics, instead rethinking the institutional space of both poem and body in a global context.