In 2020, next to the date when the ‘Parents’ Day’ was celebrated 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 polêmic and divisive views, thus setting out controversial ideas not only on the ‘parents’ day’, but also on non-hegemonic masculinities. Hegemônic masculinity (CONNELL, 1990; (2016) it is a concept which describes ‘man of truth’ as the one that is inevitably crossed by cisgenereity, heterosexuality, relaxity, medium-high class, consumptions, Christianity and other socially valued identifiers. In this article, we are pursuing the objective of highlighting the potential of LGBTTTQIA artistic and academic practices in widening the meanings given to masculinities. To this end, we first focus specifically on some of the reactions related to the campaign in question, and bring them closer to specific concepts of masculinity and gênery studies on the basis of a constrained approach. On the basis of the Arte Research methodology (REY, 1996), we have shared the creative process of authors, professors in research 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 the paternity performed by hegemônic masculinities, and call for the expansion of points of view and references from which masculinity is visually depicted in school areas.