An important aspect of the exhibition was its expansion of Heitor dos Prazeres’ practice beyond painting and music. A section devoted to fashion and design revealed his activity as a furniture maker and designer, a dimension closely connected to his personal history. Prazeres learned woodworking through his father, Eduardo dos Prazeres, a military musician who was also a carpenter, and later worked professionally in the trade. He considered himself part of the working class and regarded woodworking as both a source of economic independence and a creative practice.

The exhibition included pieces of furniture made and decorated by Prazeres, demonstrating the continuity between his work as a painter and his understanding of objects. Combining woodworking with painted surfaces, he ornamented furniture with motifs ranging from flowers to playing cards. These objects reveal how his visual vocabulary moved freely between canvas, domestic space, fashion and design, challenging conventional distinctions between fine art, applied art and everyday material culture.

Structured through thematic sections and chronological rooms devoted to music, visual arts and politics, the exhibition presented Prazeres’ career as inseparable from the social history of twentieth-century Brazil. By bringing together the different dimensions of his production, Heitor dos Prazeres é meu nome reclaimed the complexity of an artist whose work had long resisted conventional classifications. The retrospective positioned him as a central figure in Brazilian cultural history, whose practice connected artistic invention with craftsmanship, popular culture, political consciousness and the lived experience of Rio de Janeiro.