Leonilson's diverse body of work from the 1980s to his death reflected a rejection of Neo-Concretism, focusing on personal themes of love, loss, and mortality.
The exhibition featured works from 1989 to 1993, highlighting Leonilson's exploration of themes like gay identity, political oppression, and the emotional ramifications of living with HIV.
In Os indesejáveis, Leonilson depicted societal bigotry against marginalized groups, making a poignant statement about the struggles faced by HIV carriers and other minorities.
His final works courageously addressed the precariousness of gay life in Brazil's 1980s, using art to reflect upon his own identity and societal marginalization.
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