As Project Manager of the gallery, I was in charged of the museological aspects of the institution especially the supervision of exhibition programming and the coordination of the specialized publications. I supervised the setting of the shows and the works preservation. Contact with artists, visits to workshops, organization of specialized events was also part of my work.In my time in Galería Freites I wrote the essay "Pedro Fermín" (in Spanish) about the work of one of the most highlighted Venezuelan contemporary sculptors.

Supervising of the policies of preservation of the cultural heritage of the department, which includes works of art and the building known as Casa Amarilla. The position involves supervision of specialized personnel, program of exhibitions, editorial program, policy of loans, preservation, and others.

As director of this museum specialized in contemporary art and in spread the information about Alejandro Otero's work, I was in charge of the supervision of the exhibition programming, staff development and management, budget development and marketing and community outreach. Iworked closely with artists, curators and all the professional staff involved in a museum activities. I also curated the exhibition "Sincrónicas. Arte joven venezolano" that was shown in the museum and traveled to the Centro Provincial de Artes Visuales in Matanzas, Cuba.

The position includes the supervision of exhibition programming, staff development and management, budget development and marketing and community outreach. As a director of this museum I worked closely with artists and designers, curators and all the professional staff involved in a museum activities. I also worked successfully with boards of trustees, business and community leaders. During the time I served as Director I consolidated the museum within the Venezuelan cultural panorama, making it a reference among the artists and designers of the country. I established a dynamic exhibition program that was accompanied by the edition of catalogs with texts that marked a contribution in the bibliography of the Venezuelan stamp and design. The educational activities of the museum were also reinforced with a program of talks, guided tours and workshops, according to the contents of each exhibition. The increasing of collections has been a relevant factor in my career in museums. At the Museum Cruz-Diez, the program of donations and acquisitions of works was also reinforced, to such an extent, that the collection was enriched in more than 2000 new pieces. One of the most important donations was offered by the French gallery owner Denise René. Also, my efforts allowed the construction of a Carlos Cruz-Diez’s Chromosaturación Chamber, a work that from that time is permanently exhibited in room 2 of the museum.

The infraestructure of the museum involved El Castillete--building that was the house and workshop of Armando Reveron--and an a modern building with two exhibition rooms. As a director of the museum I supervised the exhibition programming, staff development and management, budget development and marketing and community outreach. The preservation of El Castillete and the dissemination of the information about Armando Reverón's life and work were also important objetives of the institution.When I conducted the Armando Reverón Museum in Macuto the institution grew notably in organizational and museological aspects, accomplishing a respectable position within the museum field of the country. I established a permanent program of exhibitions and created a publishing program of catalogues and books of high quality. Educational activities were strengthened and interaction with local and national educational institutions and the community was promoted. I acted as curator of some exhibitions about Armando Reverón as “Armando Reverón: Light and warm shadow of the Caribbean” that traveled to Bogotá, Colombia, Santo Domingo, Dominican Republic, San José de Costa Rica, Puerto Rico and Maracaibo, Venezuela.

Encargada del cuido, exposición, investigación, divulgación y enriquecimiento de la valiosa colección de Arte Latinoamericano del Museo de Bellas Artes. El cargo involucra la supervisión de personal especializado, curaduría de exposiciones, establecimiento de programaciones expositivas, coordinación y seguimiento de los aspectos relativos al cargo.