My MFA-thesis-turned-zine explores how artists respond to the complexities of our digital era, by investigating representations of simulacra, virtuality, and black women and femmes in cyberspace. I argue that the internet is a hyperreality, inherently warped by the distortion of any colonized space, but also holds the potential to transcend the oppressions of our in real life (IRL) bodies. Though cyber-feminists have engaged with gender and technology, many often spoke from points of privilege, not fully exploring how the internet upholds many simulated binaries from our real world . Very few scholars have explored how Black artists push up against the inherent colonization of the internet. This work introduces the various ways artists utilize the digital realm to present the experiences of their real world bodies, digital subconscious, and hopes for the future. Tiffany Pollard acts as a stand in for generations of Black women and femmes who simultaneously represent the internet’s potential for oppression and liberation. My research asks what potential does the internet hold for Black femmes, their collective existence, their art, their ancestors, and their preservation? This writing implements an analysis of artists and creatives who utilize the virtual realm, including performance and video artists, Oroma Elewa and Martine Syms, accompanied by a project from tech company, Brud, while utilizing a close reading of theoretical texts, including Baudrillard’s Simulacra and Simulation. “How Tiffany Pollard Built the Internet” released in 2021 as a limited-run zine and is a part of is a part of the School of the Art Institute of Chicago’s Joan Flasch Artists' Book Collection.