Studies of the organization of Maya pottery production have been pursued via numerous methods but without theoretical models. I review available data on production of Late Classic southern lowland Maya polychrome pottery in light of my calendrically based may model of geopolitical organization. I conclude that: (1) production arrangements vary by "kind" of pottery; (2) "craft specialization" and "workshops" are inappropriate concepts; (3) study of polychrome production necessitates multiple approaches, including analysis of decorative content; (4) better "bridging arguments" and "middle-range theory" are needed; (5) figural polychromes were "inalienable" wealth goods; and (6) they were painted in palaces of primary and secondary centers-may and k'atun seats in the model-in realmspecific signature styles.Pottery in Mesoamerica was made in a multitude of shapes and colors to meet a multitude of needs, both quotidian and ceremonial. The most abundant pottery consists of containers for the preparation, serving, and storage of solid and liquid foodstuffs and also might be used for gifts, display, funerary service, burning of resins, and ritual caches. Non-container fired clay goods such as figurines, whistles, rattles, drums, and the like are also common. Among the Classic Maya, the best known ceramics are multi-colored polychromes painted with human figures, glyphic texts, mythic and palace scenes, and myriad floral, faunal, and geometric motifs.