Sealed within a plastic case and fixed to a wall like a specimen or a warning, "Obscene Is" presents a grid of commercially packaged condoms bearing screenprinted text that implicates the viewer in the very politics the object describes. Made in 1990, the work arrives at a precise historical moment, when the AIDS crisis had transformed public health, sexuality, and the body into contested ideological terrain. Martinez turns a mundane prophylactic into a site of argument, exploiting the collision between consumer packaging and political language to ask who decides what is obscene, and by what authority. The piece belongs to Martinez's broader practice of embedding critical content within the formal conventions of everyday objects and institutional display. By screenprinting directly onto the condoms and presenting them in a unified case, he appropriates the logic of the product display while fundamentally destabilizing its neutrality. The result is an object that operates simultaneously as archival document, activist provocation, and sculptural work, refusing to settle into any single category. The tension between the clinical tidiness of the presentation and the charged subject matter is precisely the point. For collectors, this is a rare early work that captures Martinez at his most concise and confrontational. Signed and measuring approximately 21.6 by 17.8 by 2.5 centimeters, the piece retains exceptional historical and material integrity. It is currently on offer at Grand Dukes Theater and represents a significant opportunity to acquire a work that sits at the intersection of queer history, institutional critique, and the conceptual art of the early 1990s.