This article explores the three museum houses of Pablo Neruda in Chile, spaces open to the public after the return of democracy, in the 1990s. One of its peculiarities is that the poet himself, a collector of almost compulsive objects, arranged those houses as spaces of inspiration and creation during his life. To what extent the exhibition of these private spaces, now open to visitors, allows us to co-create the relationship that Neruda had established with his residences, as a designer and organizer of poetic spaces present in his work, arranging the objects collected as in the cabinet of curiosities? Through several visits, in-depth interviews with professionals in charge of museology, analysis of documents and of poetry in the archives of the Pablo Neruda Foundation, we tracked different stages of the museum trajectories of these three heritage houses. 1) the closing of the houses after the military coup (1973-1985) and the occupation of his widow as a private space during the dictatorship; 2) the opening, inventory and recovery of collections in parallel with the gradual conversion of Neruda's houses into museums, first on the initiative of his widow and after her death, under the leadership of the Pablo Neruda Foundation by mandate (1985-2000); 3) and finally the current stage, that we will call "professionalization", in which the specialists in charge of the poetic work, of the museology and of the conservation work in the archives, in the catalog of inventories and collections, to interpret the link that united him to his houses, to his poetic spaces and to his collections.