His photography has been published in books, exhibited in galleries[6][7] and held in the permanent collection of the San Francisco Museum of Modern Art.
His father was a prominent pastor and many family members were preachers and missionaries, with a "very Reaganesque, patriotic view of America",[11] a country "special and unique".
[12] Rickard studied United States history—slavery, civil rights—and sociology, at University of California, San Diego, and "lost his faith in this family vision.
[15] It is said that this work comments on United States politics, poverty, racial equality and the socioeconomic climate, class; the use of technology in art, privacy, surveillance, and the large quantity of images on the web.
[18] The work was first exhibited as part of Anonymes: Unnamed American in Photography and Film, curated by David Campany and Diane Dufour at Le Bal, Paris, in 2010.
[21] The series portrays scenes of violence and crime in urban settings, often filmed on mobile devices.
The title of the work is meant to be National Anthem, but is a deliberate reference and double meaning for 'N/A' (Not Applicable) as appears on forms, to signify that he considers many of the people depicted in the series are marginalized.