Historically, museums have been spaces that prioritized the privileged. With wealthy donors and board members who make every decision, these institutions specifically cater to the interests of the elite and are designed to house artworks and artifacts that require an advanced education to fully comprehend. But, with this elevated level of access to an abundance of archival knowledge, do museums have a responsibility to foster an environment of outreach and access to the general public? Assuming that history and culture are not products, and a museum’s collection holds too much significance to be claimed by any individual, one may suggest that a museum’s exhibitions are then stories, messages, or even exchanges. Artist Luis Camnitzer’s conceptual work, A Museum is a School, subscribes to this philosophy. It argues that museums are a forum for dialogue between the museum or artist and the public, and if the museum is a school, then it has a responsibility to uphold in educating the public. Who is the public, and who does “the public” exclude? Do certain museum models ostracize certain groups of people, whether it be due to financial issues, language barriers, time constraints, or other matters of inaccessibility? Do smaller, community based museums provide greater access to their intended audiences due to a more focused approach? For my thesis, I chose to investigate community centered museums in order to find techniques successfully utilized by smaller institutions that could be implemented within larger museums to better appeal to those excluded by a more traditional museum model. To document my process I created a book inspired by museum catalogs.