Standing just over a metre tall, Nathan Mabry's terracotta and steel sculpture from 2007 belongs to his celebrated It Is What It Is series, a body of work that distils his practice into its most confident and uncompromising form. The piece presents a strigine face, owlish and archaic in its modelling, set atop a shaft that reads unmistakably as phallic, the whole resolving into the silhouette of a crude amphora. The title, drawn from the Tootsie Pop advertising slogan, layers commercial American vernacular over an object whose visual grammar is far older, forcing an almost comic collision between the ephemeral and the enduring. The result is simultaneously funny and unsettling, which is precisely where Mabry tends to operate. The choice of terracotta is central to how the work generates meaning. The material carries the weight of pre-Columbian pottery, of votive objects and ceremonial vessels made across cultures for millennia, and Mabry recruits all of that ancestral resonance without pretending to revive it. The pagan symbolism encoded in the form is not presented as something lost or mourned but as something that has simply never gone away, absorbed into popular culture and advertising with the same ease it once found in religious ritual. The steel element introduces a modernist counterpoint, a nod to the Minimalist tradition of Judd and McCracken that Mabry has always kept in productive tension with his interest in ethnographic and ancient form. Mabry's work is held in the permanent collections of the Whitney Museum of American Art, LACMA, and the Hammer Museum, confirming a critical standing that this piece fully justifies. Signed by the artist and offered in excellent condition, it represents a precise and self-assured moment in a practice that continues to attract serious institutional attention. For collectors drawn to sculpture that carries genuine intellectual freight without sacrificing visual pleasure, this is a highly compelling acquisition.