In 2020, close to the date of culturally celebrating the ‘parents’ day’ in Brazil, a national company, popular in the sale of cosmetics, invited 14 men to join a campaign that valued parents present – among them Thammy Miranda (1982--), a transsexual man. The initiative generated polêchmic and division of opinions, thus exposing controversial ideas not only about the ‘day of parents’, but also about non-hegemonic masculinities. Hegemonic masculinity (CONNELL, 1990; (2016) it is a concept which describes a ‘man of truth’ as that which is necessarily crossed by cisgenereity, heterosexuality, white, medium-high class, consumables, Christianity and other socially valued identity markers. In this article, we pursue the objective of highlighting the potential of LGBTTQIA + artistic and academic practices in amplifying the meanings attributed to masculinities. To this end, we first look specifically at some of the reactions related to the campaign in question, and we are bringing them closer to concepts specific to the studies of masculinities and genture from a constrained approach. After, based on the Art Search methodology (REY, 1996) we share the creative process of authors, researchers and gays artists, in two artistic productions entitled 2018 d.C (2020) and Super father (2020). The treatment and artistic intent given to these productions, we consider, problematic and denounce violent aspects of paternity performed by hegemonic masculinities, and call for the expansion of viewing points and references from which masculinities in school spaces are represented visually.