Xaviera Simmons
She/Her/Hers
Readying The Museum Co-Lead, Editor, Co-Creative Director, and Cohort Member | Artist
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I am from New York City though I have traveled throughout the world and have spent years on walking pilgrimage with Buddhist monks on an interfaith pilgramage, an event which has been an extremely formative experience for me..
I have a wide ranging studio practice that includes producing photographs, performances, installations, and large scale sculptures. text works, videos, public works and sound. My work is both formally and materially engaged as it is linked to contemporary and histories of all kinds. These works are also in many museums and private collections globally. My studio practice has been included in and reviewed in publications nationally and internationally and I have held teaching positions at Harvard, Yale and Columbia Universities. I have won a multitude of awards and am thankful for them . In addition to my studio and teaching practices, I have served on the governing boards of New York City real estate and artists studios alongside philanthropic, banking and civic leaders as well as on governing boards working with local youth, incarceration and forming methods of accountability.. I have advised non profits large and small while also being an artist organizer building solidarity with and for artists and arts workers.
Over the past several years, because of my writing and creative practices, I have also been asked to advise organizations and individuals who have proclaimed a readiness to do the type of work we find ourselves doing with Readying The Museum. I can count on two hands the number of organizations and individuals who have attempted to use aspects of this portion of my creative practice as a shield for their systemic malfunctions and overt and varied supremacies. I have found that many museums, non-profit organizations, philanthropic entities and executive teams, proclaim to want to do this work until the real work of looking at financial and labor equity and community accountability becomes the critical elements that would determine their system’s transformation.
Museum exhibitions and think tanks are one thing, but when representation and labor actually speak regarding tangible deliverables and monetary transformation and when certain forms of accountability come into play, systems and individuals begin to disconnect, flail and produce failure inside of the ecology. I have been through many episodes of this spinning out and the abandoning of sustainable transformation where fertile and vibrant missions are abandoned and individuals and institutions doubledown to reassert deeper levels of supremacy, patriarchy, oppression and wealth hoarding. White and POC leaders have revealed this manner of doubling down.
I advocate for material and financial repairs and believe that reparations for the descendants of slavery and a turn towards local Indigenous protocols are some of what our collective future holds. Race is a construction that benefits those with whiteness and wealth or those who are neither of these but are beholden to the oppressive “privileges” these two mechanisms hold. Having been around wealth for so much of my life, while not actually being wealthy, I know that no wealth is had without oppression, extraction and other forms of power dynamics.
Through all of this, I have worked to be clear, rigorous and research based and as such, wealth, whiteness, patriarchy, anti-Blackness, white feminism and the United States, in particular, alongside other structural maladies are a part of my everyday inquiries in and out of the studio. My practice is as interested in object making as it is in the financial, structural, governing and ethical configurations of the institutions I exhibit and work within.
Because I am a descendant of American chattel slavery whose family has grown and developed here in the United States for centuries, (through the mechanisms of whiteness, white supremacy, enslavement, Indigenous land and life theft, segregation and all the rest), I am deeply engaged in the ways this American empire sits within me, within us and affects every day to day moment we live within.
My practice is tended to by my gallerist, a multitude of collectors, philanthropy, museums, scholars, nonprofits and even art fairs, as well as by museum directors, curators, writers , students and thinkers as well as by family and partnership. To paraphrase James Baldwin, it is precisely because of this exchange within my life and workplace environ that I feel the absolute necessity to critique, criticize and work towards systemic changes where I witness or experience structural malfunction and oppression.
I have produced artworks about the topics on hand. I have taught, lectured, written about and advocated for and about them. Rather than explain further I place a small sampling of links to my thoughts below which occurred before the formation of this cohort. I share these so that they may exhibit the trajectory of thinking shared within this project which I co-organized with Miki Garcia whom I have known for almost 20 years . The Museum comes out of this true and evolving friendship as well as a deep, constant working friendship between an artist and a museum director.
I want to reiterate that for many years, individuals, staff, collectives, unionizing workers, artists and communities have called on wealth, power and museums, in particular, to do better, to release representation from the burden of doing the institution’s work and to make way for structural, systemic and lasting changes where labor is respected and compensated so that individuals, artists and creatives can thrive.
There is a legacy and contemporary manifestation of this level of engagement that we are working in concert with. I believe that there are no topics in this ecology that should be shied away from. Wealth, capitalism, empire, philanthropy, non profits, taxation, labor politics and culture hoarding in tandem with land and life theft, enslavement, the construction of whiteness and systemic oppression are significant molecules within the air that we breathe so they therefore are the most pertinent topics at hand. And they all are linked to the arts ecologies we all work within. For More see:
https://m.youtube.com/watch?v=hPOcRnheM8k
https://digital.modernluxury.com/publication/?m=53228&i=727514&p=42&ver=html5 (editor's page)
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Formal Biography
Xaviera Simmons’ sweeping practice includes photography, painting, video, sound, sculpture, text, installation and performance. Her work engages the formal histories of art through her studio's expansive use of materials. The work’s themes are often rooted in both aesthetic and formal inquiries and in the construction of landscape, language, image, and the complex histories of the United States and its continuing empire-building, internally and on a global scale.Simmons received her BFA from Bard College (2004) after spending two years on a walking pilgrimage retracing the Trans-Atlantic Slave Trade with Buddhist Monks. She completed the Whitney Museum’s Independent Study Program in Studio Art (2005) while simultaneously completing a two-year actor-training conservatory with The Maggie Flanigan Studio, NY. Recent solo exhibitions include Nectar at Kadist, Paris; The Structure, The Labor, the Pause at Sarasota Art Museum; Convene at Sculpture Center, New York; Overlay at Radcliffe Institute at Harvard University; The Gold Miner’s Mission to Dwell on the Tide Line at The Museum of Modern Art- The Modern Window, New York; and CODED at The Kitchen, New York. She has participated in recent group exhibitions at museums including The Momentary at Crystal Bridges, Bentonville; Desert X, Palm Desert; Sprengel Museum Hannover; The Weatherspoon Art Museum, Greensboro; MassArt, Boston; The Renaissance Society, Chicago; Seattle Art Museum; Museum of Contemporary Art, Chicago; Nasher Museum of Art, Durham; Wexner Center for the Arts, Columbus; Prospect.4, New Orleans; Fondazione Nicola Trussardi, Milan; Studio Museum in Harlem; Museum of Modern Art, New York; Institute of Contemporary Art, Boston; Cincinnati Art Museum; Museum of the African Diaspora, San Francisco, among others. Simmons’ work has been featured and reviewed in many publications; most recently in ArtNews, The Art Newspaper, Artnet News, Artforum, Hyperallergic, New York Magazine, Bloomberg, Paper Magazine, The New York Times and others.
Simmons’ works are in major museum and private collections including The Museum of Modern Art, New York; Deutsche Bank, New York; UBS, New York; The Guggenheim Museum, New York; The Agnes Gund Art Collection, New York; The De La Cruz Collection, Miami; The Museum of Contemporary Art, Chicago; The Studio Museum in Harlem; ICA Miami; Perez Art Museum Miami; The Weatherspoon Art Museum, Greensboro; The Nasher Museum of Art, Durham; The High Museum, Atlanta, among many others. She has held teaching positions at Harvard University, Yale University, Columbia University and The School Of The Art Institute, Chicago.
In Spring 2020 she was awarded the prestigious The Charles Flint Kellogg Award in Arts and Letters from Bard College. Simmons is a recipient of Socrates Sculpture Park’s Artist Award (2019), Agnes Gund’s Art for Justice Award (2018), as well as Denniston Hills’ Distinguished Performance Artist Award (2018). Recent solo exhibitions include “Crisis Makes a Book Club” at the Queens Museum, NY (2023) and “Nectar” at KADIST Paris. For the 2021 edition of Art Basel Miami Beach, Simmons served as the first guest editor of Art Basel Magazine. Simmons is currently the co director of a joint initiative between the Ford and Mellon Foundations on museum accountability. The artist has exhibitions, performances and projects slated to open globally through 2026.
Miki Garcia
She/Her/Hers
Readying the Museum Co-Lead and Cohort Member | Director of the Arizona State University Art Museum
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Originally from the Border region of Brownsville, Texas and Matamoros, Tamaulipas, in the lower Rio Grande Valley which sits on the ancestral land of the Karankawa, Tāp Pīlam Coahuiltecan, Ndé Kónitsąąíí Gokíyaa (Lipan Apache), Carrizo/Comecrudo, and Rayados/Borrados, I am a fifth generation Tejana whose ancestry on both sides have been moving back and forth along this region for hundreds of years. I was born to an artist/educator who was involved in the Chicano Civil Rights Movement and a school principal/practicing artist mother - both with MA degrees, which currently comprise 7% of the Latinx population in the US. I identify as a cis-gender, able bodied Latinx with a great degree of educational and racial privilege and use the pronouns she/her/hers. Aside from my professional career as an art historian, curator and museum director based in Phoenix, Arizona in the Salt River Valley on ancestral territories of Indigenous peoples, including the Akimel O’odham (Pima) and Pee Posh (Maricopa) Indian Communities. I am a practicing Buddhist, yogini, animal rights advocate and member of the recovery community. I am personally involved in immigration rights and women’s health issues in my personal life.
I am the co-founder of RTM and acknowledge that by leading such an effort, I risk professional opportunities and reputational ramifications in greater degree than my white/male counterparts.
I was appointed Director of the Arizona State University Art Museum in December 2017. Prior to joining ASU, I worked as Executive Director and Chief Curator of the Museum of Contemporary Art Santa Barbara from 2005-2017, the Public Art Fund, N.Y. from 2001 to 2004 and the Museum of Contemporary Art, San Diego from 1999 to 2001. I also held positions at the Blanton Museum of Art at the University of Texas at Austin and the San Antonio Museum of Art. As a curator, I organized exhibitions of emerging and internationally recognized artists, including Assume Vivid Astro Focus, Sanford Biggers, Xaviera Simmons, Dasha Shishkin, Tam Van Tran and Mario Ybarra, Jr. and completed numerous scholarly and professional publications. I regularly take part in juries and guest lectures, the most recent being Expo Chicago; School of the Art Institute of Chicago; Curatorial Leadership Summit, Armory Show; American Alliance of Museums; Artadia: The Fund for Art and Dialogue; Creative Capital and the National Endowment for the Arts. She currently sits on the Board of Trustees for the Association of Art Museum Directors; the Vassar College Frances Lehman Loeb Museum Leadership Council; and the Exhibition Committee for American Federation for the Arts.
Together, we built consensus to articulate a vision for ASU Art Museum that champions art and artists in the service of community wellbeing and social good. In 2022, I was named one of the 48 Most Intriguing Women of Arizona and I am a part of ASU’s Women in Philanthropy. I sit on the Board of the Association of Art Museum Directors; Vassar College Loeb Museum Leadership Council; and Exhibition Committee for American Federation for the Arts. I hold a BA from Vassar College, Poughkeepsie, NY and a MA from the University of Texas at Austin with a certificate of completion from the Executive Program for Non-Profit Leaders, Stanford School of Business, CA.
Cruz Ortiz
He/Him/His
Readying the Museum Cohort Member, Co- Creative Director | American Contemporary Artist
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Cruz Ortiz is an American Contemporary Artist who uses multiple mediums examining connections to nature, hope, healing, beauty, endurance, and the cosmos. He uses bold graphic screen prints, figurative abstract portraiture, dream-like landscape paintings, temporal guerrilla installations, utilitarian machines, hand carved wood sculptures, large scale public art, video, and performance art. He is interested in the exhausting narratives searching for love and the sense of home land. Ortiz is constantly working in the studio, jumping from traditional studio methods such as painting and sculpture to commercial printmaking and print design projects. Most of his works are created with a sense of exigency, only so he can keep up with the ever evolving ideas and visual manifestos eager to be revealed. Early in his career he would thrash through photography, screen prints and video projects in a very punk skater rasquache manner, which involved staged performances and make-shift projection art parties.
Currently, Ortiz has been exclusively working on painting as a romantic art historical form of documentation. It is through the use of this archaic form that he is taking risks of institutionalizing subject matter. In a time where everything is now digital and virtual, Ortiz is mixing oil paintings and painting from direct observation, while detecting the importance of painting for the future. He is also very interested in how painting pushes the critical contextualization of social political issues. His artistic projects aim to center the periphery to capture moments in history, especially the settler state that has tried, over and over, to erase from collective memory. With a great sense of urgency to record, preserve, and disseminate, he paints.
Ortiz has committed himself to creatively collaborating with cultural arts organizations and social justice organizations for most of his career. He was also a public high school instructor for 15 years, working with diverse urban students. Cruz Ortiz has had solo exhibitions at: ARTPACE in San Antonio, Texas; the Contemporary Art Museum in Houston, Texas; the University of Texas in Austin; The Museum of Contemporary Art in Santa Barbara, in Santa Barbara, California; and the Judd Foundation, in Marfa, Texas. He has been invited to participate in many major international exhibitions and institutions such as: the Louvre in Paris, France; EV-A in Limerick, Ireland; the traveling exhibition Phantom Sightings with the Los Angeles County Museum of Art, Los Angeles, California; the San Juan Triennial in San Juan, Puerto Rico; and at The Blue Coat Museum, in Liverpool, England. His work is in the permanent collections of Ruby City, the San Antonio Museum of Art, the University of Texas at San Antonio Library Special Collections, the Arizona State University Museum of Art, and the Smithsonian National Portrait Gallery.
Cannupa Hanska Luger
Readying the Museum Cohort Member | Artist
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As a contemporary artist Indigenous to North America, I am motivated to reclaim and reframe a more accurate version of 21st century Native American culture and its powerful global relevance. The customary practices of the world’s Indigenous people have been imprisoned to the past. Indigenous craft and arts, when not cannibalized by western culture, are considered primitive or extinct.
Born on the Standing Rock Reservation in North Dakota, I am an enrolled member of the Three Affiliated Tribes of Fort Berthold and am Mandan, Hidatsa, Arikara and Lakota. My practice is rooted in the continuum of generations before me, the urgency for Indigenous visibility in this moment and the dreaming of Indigenous futures. Building worlds and dismantling misconceptions through monumental installations, sculpture and performance, I place myself between the realms of contemporary art and Indigenous culture, moving amidst museums and the front lines to enact a more complex understanding of contemporary Indigeneity.
The materials that I use are emblematic of human civilization including clay, textiles, steel and digital media. Clay signifies our connection to place, literally the ground on which we stand. We create textiles from plants and animals, reflecting our truly embodied relationship between fiber and flesh. Steel has allowed humans to develop, build and dominate; it provides the physical structures for control and capital. And technology now provides an opportunity to question our civility and our connectedness through durational and situational media.
I activate speculative fiction as a methodology, a practice, a way of future dreaming, rooted in an Indigenous continuum. I engage in land-based performative actions to pledge accountability to the land and waters affected by resource extraction and industry. I practice empathetic response and community catharsis through craft based social collaboration. Whether working with institutions, communities or with the land itself, my work is inherently social and requires engagement. I aim to lay groundwork, establish connections and mobilize action - to challenge the systemic conditions of colonialism while making space for urgent and emergent Indigenous narratives.
Olga viso
She/Her/Hers
Readying the Museum Cohort Member | Art Historian and Curator of Contemporary Art
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I am a member of the RTM cohort, a curator and contemporary art historian and former museum director based in Phoenix, now at the Phoenix Art Museum. My pronouns are she/her/hers. I identify as Latina. I am a first generation Cuban American. I have worked at museums for thirty years, at five different institutions, and am one of a handful of Latinas to break the glass ceiling and run a larger institution.
I will be honest that in these different professional contexts, I have struggled with how my identity has been leveraged to meet a range of institutional diversity goals. Throughout my career, I have experienced harm but also know that I have been guilty of replicating and perpetuating harm to advance professionally. Forging this awareness is part of the important work of accountability that is at the center of RTM, which we believe can make you a stronger and more transparent and empathetic leader.
As many of you know, I was at the center of a public art controversy in Minnesota in 2017 when I ran the Walker Art Center. I was critiqued for culturally insensitivity involving native community. While I took personal and institutional responsibility and continue to work toward repair, it was my work with RTM over the last two years---applying our methodology and reflective practices---that has helped me to truly reckon with what occurred. I know the events there happened because I centered my needs and the needs of the art world rather than the experiences, knowledge, and culture of the Dakota people–the Native community most impacted by my decisions.
As you will hear today, what RTM offers to the field is a new approach to thinking about museum accountability. It is an approach that is human-centered---one that redefines accountability in communal rather than corporate terms. It invites museum professionals---directors, boards, staff, leaders---to center those individuals voices and communities closest to you at your museums that are the most marginalized, vulnerable and under-represented.
We believe that reframing how museums define accountability is central to forging a more sustainable and equitable future and frankly, the survival of museums. It requires really digging deep into understanding the gaps between who museums say they serve and who they actually serve and should and to whom they are most accountable and why. There is truly no true consensus in the field around accountability. This is why this is a central question and concern of RTM. It is something I hope we can acknowledge and wrestle with as colleagues today.
George Scheer
He/Him/His
Readying The Museum Cohort Member and Editor | Artist-Founder, Director, Curator, and Cultural Policy Advocate
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I am an artist-founder, arts worker, museum and residency director. I co-founded and directed Elsewhere, a museum and artist residency in North Carolina and am the former Executive Director of the Contemporary Arts Center, New Orleans. I grew up in Atlanta, am white, cis-male and Jewish with a middle-class upbringing and parents who deeply valued education. With this educational privilege I’ve worked to connect research and practice, bridging philosophy, literature, critical theory, cultural economics, and study of archives into my creative and institutional practices. My first significant experience with identity, difference, and dissonance was growing up identifiably-Jewish, attending a Christian prep school, while engaged in national Jewish-youth organizing and maintaining a complicated relationship with Zionist thought. Over the last 20 years I’ve been dedicated to artist-centered spaces, residencies, place-based artist projects, and artist-centered institutions.
My work, academically, artistically, and professionally has centered on supporting creative experimentation between artists and communities, and moving museums into civic spaces and in conversation with artists, activists, and policy makers. My educational, positional and normative privileges, along with my creative curiosity, has allowed me to move confidently among different communities, and at the same time I acknowledge the potential for and creation of harm. My attraction toward system design and the curation of spaces for artistic and curatorial practice has sought to align with the demands of marginalized, Black, Brown, and Trans and Queer communities and their leadership. Even so, in those efforts to be in coalition I have created harm and fostered spaces where inherent white supremacy and colonizing tendencies have had to be dismantled.
In this cohort I am working to refine methodology and practice for reducing the harms caused by museums, specifically artist-centered, alternative museums. We are developing strategies to center the values of Black, Brown, and Trans and Queer, neurally-diverse, health hindered, (dis)abled artists and operationally adopt those values and practices into the museum’s work. My aim is to help place museum ecologies, its art-workers, board, and patrons in better relation to under-resourced and activist communities inside and outside the museum walls. In my work as a director I would like to increase the museum's capacity to hear the wants, desires, and demands of under-recognized, under-resourced, civic, cultural, social justice oriented communities, including artists and museum workers, and to make space for them in ways that work for them. In the context of arts institutions, I seek to transition ‘partnership’ into practices of being-in-community and to transform the museum's assets into better resources for artists and their communities to utilize. It doesn’t always turn out as I would hope, but I do direct my intention and labor, and the labor of others, to make contemporary arts institutions more inclusive, critically generative, and relevant spaces for civic and social imagination.
Frederick Janka
Readying the Museum Phase II Cohort Member | Arts Advocate & Cultural Producer, President, Board of Trustees, Museum of Contemporary Art Santa Barbara
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I am a queer latinx arts advocate and cultural producer based in Santa Barbara, California, on the unceded traditional lands of the Chumash. My mother would identify as Chicana, and my father of mixed Central European ancestry. My pronouns are he/him. In addition to participating in the Readying The Museum cohort I am also the Hospitality Director for the project, primarily concerned with holding in care and wellbeing the cohort members and those we engage with through our in person activities.
I have close to 20 years in the contemporary art world, working in administrative, fundraising, and curatorial roles at galleries, museums, and arts nonprofits in the US and Mexico. My time with the RTM cohort has offered me clarity about my positionality as well as the reality of the micro and macro aggressions I’ve normalized for much of my career.
I grew up groomed to be at the behest of white women, and have therefore found success with my ability to speak easily to power, privilege, and wealth. I have also only recently been able to see a repeated pattern in my professional and personal relationships when the honeymoon period with whiteness is disrupted leading to retaliation and the weaponizing of whiteness expressed against my brown body. I am aware that my name conjures something different then my appearance for those who meet me for the first time. And this liminal space between who I am and who people expect me to be has often been the source of my confusion and trauma.
Growing up as a second generation Mexican American in Southern California challenged any understanding I had of identity. My maternal grandparents prioritized assimilation in the mining towns of the American Southwest and didn’t pass along much that I could understand and value as a culture starved youth. It was only through my encounters with Mexican Modernism in City College art classes did I even begin to grasp the immense cultural contributions from those that came before me. This has led me on a lifetime journey of learning that continues to this day in the work I do organizing and fundraising for artists and exhibitions, advocating for the preservation of cultural resources, and centering Black, Brown, and Indigenous solidarity as a practice of healing.
Lori Fogarty
Readying the Museum Cohort Member | Director and CEO of the Oakland Museum of California
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I am the Director of the Oakland Museum of California, a mutli-disiplinary museum of art, history, and natural sciences and I have worked at three different museums in the Bay Area for 35 years. For the past close to three years, I’ve been honored to be a member of the RTM cohort. I am a white, cis, heterosexual, married woman with two kids and no known disabilities. Being a child of working class parents who were deeply progressive and politically active in the late 1960s and 1970s gave me a strong sense of what we then called civil rights and equal justice. It also taught me to think of myself as one of the “good white people.” I have come to recognize the ways that this has benefited me throughout my career as I had advantages in opportunity and recognition as a white woman who has also been seen as an advocate for DEIA values.
Through my work in RTM as well as other personal work in recent years, I’ve had to interrogate my own white identity and the structures of whiteness. Here, I characterize whiteness as the dominant culture -- the systems, “ways of doing things” and even “best practices” -- that define the operations at mainstream museums, including Board structures, fundraising practices, staff hierarchies, compensation, hiring and recruitment, professional development, decision-making, and DEIA practices cloaked as “community engagement.” Thanks to the generosity of colleagues within our RTM cohort, I am often called in to examine how my best intentions at de-centering whiteness and being an ally can fall short of real accountability. As someone who has benefited from an insulated and conflict averse culture of white supremacy, I have had to face the reality of my own conditioned fragility and protective defensiveness. This defensive impulse can be especially present in our current context, when many of us in white leadership sometimes yearn to “get back to normal” or think we’ve checked the DEIA boxes.
What is clear to me is that moving at the pace of white time is not serving us, and it is up to those who benefit from it to challenge ourselves to do things differently. While I am not always completely clear about the methods moving forward -- and often find the changes uncomfortable and daunting -- I do believe that it is the responsibility of directors and white leadership to hold ourselves accountable in ways we might not have considered before. We need to simultaneously divest ourselves of power and recognize the power we hold and hold it well. I look forward to engaging in this exploration with you today and into the future.
READYING THE MUSEUM Staff
Lilian Silva
Readying the Museum Staff | Associate Director
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Lilian Silva is the Associate Director of Museum Operations at the ASU Art Museum. She was hired as an Accounting Specialist for ASU’s Financial Services in 2015 and earned a promotion to lead business operations at ASU Art Museum in 2017. In her current role as Associate Director, she oversees Finance, Visitor Services, Security/Facilities, HR and Special Initiatives. Lilian holds a degree in Business and is currently seeking to obtain a second BA through the Organizational Leadership Program at ASU. She began her career in finance & business operations over 20 years working for a distribution company in California where she worked for over 12 years until she moved to Arizona where she currently resides with her husband and four kids.
Meghan Smiley-Smith
Readying the Museum Staff | Previous Project Director
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Meghan Smiley-Smith is the Project Coordinator for Readying the Museum. Meghan has worked for the ASU Art Museum, Phoenix Art Museum, Scottsdale Museum of Contemporary Art and the University of Arizona Museum of Art. She holds a Master of Arts in Art History from Arizona State University and Bachelor of Arts in Art History from the University of Arizona. She currently resides in Phoenix, AZ with her husband, dog and baby on the way.
Erin Donohue
She/Her/Hers
Readying the Museum Staff | Current Project Director
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Erin Donohue has spent her career working alongside artists with a deep commitment to creating social change. Past roles include program manager at the National Center for Choreography, project manager at the Herberger Institute for the Arts, and education director at Hancher Auditorium. She works as a creative producer for Liz Lerman and freelances on arts-focused projects.
Rebecca richard
She/Her/Hers
Readying the Museum Staff | Web Developer
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Rebecca Richard is a web developer and designer, currently contributing to the Readying The Museum project. With a Bachelor's degree in Cyber Security and Information Systems from the University of Texas at San Antonio, Rebecca combines her technical expertise and creative vision to craft engaging, secure digital experiences. Based in Texas, she collaborates with a wide range of clients—including small businesses, nonprofits, and entrepreneurs—helping them confidently build their online presence.
Rebecca’s approach focuses on creating websites that are not only visually striking but also functional, secure, and customized to meet each client’s needs. In addition to her work, she shares her expertise on YouTube, providing tutorials and insights for aspiring web developers and tech enthusiasts.