Another lesser-explored aspect is that of the contrast between the production of the pieces and their sale. Dias Jr (1988) characterized ceramics of the neo-Brazilian tradition as local products for family consumption. Morales (2001, p. 180) suggested that with economic intensification and urban development at the end of the seventeenth century, local production tended to exist alongside nuclei of production and sale, given the growing demand for these pieces in towns and cities. Zanettini and Moraes Wichers (2009) highlighted this issue by presenting the results of a compositional analysis of ceramic fragments from Capão in São Paulo: the provenance of the fragments from numerous sources indicated acquisition through retail.  
Recent excavations in the Indigenous village of Pinheiros on the periphery of the colonial town of São Paulo revealed a strand of pottery production wherein handmade ceramics were designed for the town and its surrounding area. According to historical records, these ceramics were produced by Indigenous and mixed-race women (Zanettini Arqueologia, 2012, p. 333). A significant  
proportion of the pieces found featured artistic decoration similar to that present in contexts of African occupation, which the authors attributed to an intensive transculturation process having occurred during the colonial period.