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This paper explores space in Lynn Nottage’s Sweat, focusing on spatial concepts conceived by Gill Deleuze and Felix Guattari, and on ritual theory by Victor Turner. The setting for Sweat is a blue-collar bar in Reading, one of the poorest cities in America. In the beginning, the bar works as ‘a ritual space’ which transcends racial barriers and celebrates an intimate friendship between Tracey, the white factory worker and Cynthia, the black worker. The bar functions as ‘smooth space’ which could be called flowing, nomadic and directing toward production. As the local economy collapses and Cynthia is promoted to a manager, however, Tracey starts to criticize Cynthia. Tracey and her son, Jason who are laid off, blame their tragedy on other races. Oscar, a Latino, is also a target for their anger, and Stan, the white manager of the bar, tries to block the violence and is beaten. The bar can then become the place of violence and racism. It can thus be evaluated as ‘striated space’. This concept of space is more measured, formed and fixed. In the end, Nottage alludes to fragments of hope in the bar, which could lead toward apology and forgiveness. The bar, therefore, is not fixed as striated space. It may function as ‘holey space’ which bypasses smooth space and striated space. It is in itself double and a hybrid, searching for diversity and harmony.