In stark contrast to his dominant women, Harukawa's male subjects are deliberately portrayed as small, faceless, and submissive, often serving as literal "human furniture". They are buried beneath their partners' weight or entangled in their hair, appearing more as accessories to the scene than as individuals. This dynamic exemplifies what Harukawa called the "absolute Ganmen Kijo Shugi" — the Facesitting Principle — a central tenet of his artistic philosophy.

On December 30, 2021, ATM Gallery NYC opened a groundbreaking exhibition that subverted traditional expectations of Lower Manhattan's gallery spaces. Featuring pulled from his private studio archives, the gallery exposed mainstream American critics and collectors to Harukawa's highly specific, uncompromising vision of female dominance ( femdom ).

The second masterpiece published in 2021 was the memorial edition of . This expanded collection went beyond his standard illustrations, featuring studio photos, production materials, early manga works, and personal photographs, making it the ultimate tribute to his career.

Back in Japan, the concluded its "Exhibition in Memory of Namio Harukawa" in early January 2021. It was a unique opportunity to follow the traces of the artist and see original drawings in the intimate setting of a Tokyo gallery. The exhibition also allowed audiences to view artifacts from the artist's personal life, including original drawings and various memorial goods.