This chapter examines Pietro Aretino's Sonetti sopra i XVI modi as an effort to construct a community grounded in the obscene, through and in spite of the dominant Petrarchist literary community led by Pietro Bembo and characterized by a classicist literary approach. By analyzing Aretino's "pseudo-exegetical" approach applied to Marcantonio Raimondi's engravings, as proposed by Procaccioli, the study interprets the provocative, programmatic critique of mainstream Petrarchist conventions as a climax of the obscene portrayal of nudity within the images. A detailed analysis of Sonnet XI in comparison with RVF 292 reveals multiple levels of burlesque imitation of Petrarch, following an interpretive framework proposed by Bernhard Huss. Utilizing theories of lyric community by Zymner and Schlaffer, alongside Baudrillard's concept of the "ob-scene," the contribution concludes that Aretino's work aimed to establish a transregional universal community that provocatively overlapped with traditional Petrarchist circles by asserting the "naturalness" of its obscene representations.