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Series documents Cunningham’s responsibilities as exhibits designer, and consists of records related to the planning and implementation of various exhibits since the late 1980s. In addition to his role as designer, Cunningham has also been involved in producing exhibit proposals; assisting with travelling exhibits; and developing exhibition policies and guidelines. Records include artists’ statements and artwork; banners; calligraphy; case lists; contact prints/proofs; contracts; correspondence; exhibition catalogues; exhibition panels; exhibition proposals; exhibition text; guidelines; invitations; labels; loan agreements; measurements; memoranda; minutes; negatives; object lists; photographs; photocopy of artworks; plans; policies; reports; schedules; and sketches.

The records are divided into the following sub-series:

A Guidelines 1992-1994

B Long-term installations [ca. 1992]-2000

C Proposals 1988-1996

D Schedules 1991-1993

E We Sing to the Universe: Poems and Drawings by Ron Hamilton [1994]-1994

F Fragments: The E. Sonner Donation of African Sculpture 1990-1991

G A Coat of Many Colours: Two Centuries of Jewish Life in Canada 1990-1991

H Ancient Cloth / Ancient Code? 1990-1992

I Savage Graces: After Images by Gerald McMaster 1990-1993

J A Rare Flower: A Century of Cantonese Opera in Canada 1989-1997

K Inside Passage: 1792 1993

L Multiplicity: A New Cultural Strategy 1989-[ca. 1993]

M Cannery Days: A Chapter in the Lives of the Heilsuk 1993-1994

N High Slack: An Installation by Judith Williams 1992-1994

O Reclaiming History: Ledger Drawings by Assiniboine Artist Hongeeeysa 1993-1995

P Trapline Lifeline 1990-1992

Q Our Chiefs and Elders: Photographs by David Neel, Kwagiutl 1989-1990

R Festival Hong Kong: Possessions from the Past: Objects from a Lifetime of Change and Contrasts: Hong Kong’s New Territories in the 20th Century 1991-1992

S Nunavutmiutankik Elisasiniq: A Tribute to the People of Nunavut 1998-1999

T Travelling exhibits 1990-1991

U Gathering Strength: New Generations in Northwest Coast Art [199-?]-2004

V Continuing Traditions: Coast Salish Basketry 2000-2001

W Musqueam Weavers 1999-2000

X Haida Metalwork [1999?]-1999

Y Kaxlaya Gvilas [200-]-2002

Z Proud to be Musqueam 1991-1993

AA Repatriation 2000-2002

BB To Wash Away the Tears 2002-2003

CC Artifacts 1995-[ca. 1996]

DD The Abstract Edge: Recent Works by Robert Davidson 2001-2005

EE Mehodihi: Well-Known Traditions of Tahltan People [200-]-2003

FF Connoisseur’s Collection: Chinese Ceramics from the Victor Shaw Donation 2000-2002

GG Written in the Earth 1993-2002

HH Recalling the Past: Early Chinese Art from the
Victor Shaw Collection 1997-1998

II Maui: Turning Back the Sky: Exhibition of Contemporary
Hawaiian Art 1996-1997

JJ El Corazon Del Mundo: At the Heart of the World
La Sierra Nevada de Santa Marta, Colombia 2002

KK The Art of Norval Morrisseau 1999-2000

LL Without Masks: Contemporary Afro-Cuban Art 2014

MM Safar/Voyage: Contemporary Works by Arab, Iranian and Turkish Artists 2013

NN The Smart One video

OO Luminescence: the Silver of Peru 2012

PP Inuit Prints and Drawings: Selections from the Permanent Collection 1988-1989

QQ Carl Beam 2011

RR Man Ray, African Art and the Modernist Lens 2010-2011

SS Jack Shadbolt and the Coastal Indian Image 1986

TT Speaking to Memory 2013

UU One Mind, One Heart 2013

VV Hiroshima 2011-2012

WW Mungo Martin: A Slender Thread 2004

XX "Pasifika: Island Journeys” - The Frank Burnett Collection of Pacific Arts 2003-2004

YY Exhibit unknown

ZZ: Recent acquisitions 2005

Series consist of records created, received, and/or used by Skooker Broome in his capacity as Designer. The records relate to planning, designing, and installing of various exhibits at the Museum of Anthropology. Series contain some or all of the following kinds of records: correspondence, notes, reports, exhibition records, photographic materials, multimedia formats, and administrative and financial records relating to Skooker Broome’s function as Designer.

The series is arranged into 23 subseries:

Subseries A: The Spirit of Islam: Experiencing Islam through Calligraphy
Subseries B: Exhibit A: Objects of Intrigue
Subseries C: Gallery 3 Exhibit
Subseries D: From Under the Delta Exhibition
Subseries E: Heredity: Heredity Chiefs of the Haida
Subseries F: Katagami: Gift Wrap on Recycled Paper
Subseries G: Victor Shaw Collection
Subseries H: Lyle Wilson: When Worlds Collide
Subseries I: Eulachon: A Fish to Cure Humanity
Subseries J: Anth. 302 – Anthropology of South Asia – Student Exhibit
Subseries K: Gulf of Georgia Cannery National Historic Site, B.C.
Subseries L: Maya Exhibit
Subseries M: Safar/Voyage: Contemporary Works by Arab, Iranian and Turkish Artists
Subseries N: Paradise Lost? Contemporary Works from the Pacific
Subseries O: Anspayaxw: An Installation For Voice, Image, and Sound
Subseries P: Speaking to Memory: Images and Voices from St. Michael's Residential School
Subseries Q: The Marvellous Real: Art from Mexico, 1926 - 2011
Subseries R: Without Masks: Contemporary Afro-Cuban Art
Subseries S: Claiming Space: Voices of Urban Aboriginal Youth
Subseries T: c̓ əsnaʔəm: the city before the city
Subseries U: Heaven, Hell and Somewhere In Between: Portuguese Popular Art
Subseries V: “Don't give it up!” The Lives and Stories of the Mabel Stanley Collection
Subseries W: Pigapicha! 100 Years of Studio Photography in Nairobi

Series consists of records generated during the preparation and documentation of exhibitions at the Museum.

Series consists of correspondence and memoranda, reports, handwritten notations, draft copies, cue cards, comment book, photographs, negatives, contact sheets, slides, application grants specific to exhibitions and other textual and graphic records related to the preparation of exhibitions within the Museum.

Series consists of records relating to museum exhibits that were In House (MOA based exhibit displayed at MOA), Traveling In (exhibits from outside institutions), and/or Traveling Out (a MOA based exhibit that travels for exhibition outside of MOA). The records include correspondence, interdepartmental memoranda, loan agreements, exhibit receipts, exhibit proposals and forms, news releases, pamphlets, newspaper clippings, colour photocopies, display labels, negatives, slides, and photographs.

The records are divided into the following sub-series:

A Trapline Lifeline 1987-1992
B Beyond Revival 1988
C I Have Seen the Other Side of the World

• Masks of the Northwest Coast 1988
  D Gifts & Giving 1988
  E Lyle Wilson: When Worlds Collide 1988-1989
  F Images from the Inside Passage 1985-1989
  G Everything Politics – Australian Aboriginal Political
  Art in Print & Poster 1988-1989
  H Ghosts in the Machine, Phase II 1988-1989
  I A Coat of Many Colours 1988-1991
  J From Classical to Modern: Javanese Shadow Play Figures 1988-1991
  K Sacred Objects & Holy Presence 1989-1990
  L Fieldnotes 1989-1991
  M Transforming Image 1988-1995
  N Proud to be Musqueam 1988-1996
  O The Inside Passage – 1792 1989-1995
  P Great Canada Exhibit 1990-1991
  Q World Aids Day 1990
  R Fragments: The E. Sonner Donation of African Sculpture 1990-1991
  S Asia Pacific Foundation 1990-1993
  T David Neel 1990-1993
  U British Columbia Contemporary Ceramics 1991
  V Denendeh 1991
  W Savage Graces: “After Image” by Gerald McMaster 1992
  X Thunderbird & Whale 1992
  Y Cantonese Opera 1991-1996
  Z Eulachon – A Fish to Cure Humanity, The Grease Trails 1977-1995
  AA Saltglazed Stoneware 1992
  BB Dragon Jars 1992-1993
  CC Maiolica/Majolica 1992-1993
  DD Echoes 1992-1996
  EE Ron Hamilton 1994
  FF Cannery Days 1994-1995
  GG Sally Michener 1994-1996
  HH Maui: Turning Back the Sky 1995-1997
  II Written in the Earth 1992-1998
  JJ Ancient Lives: The Maya of Guatemala 1998
  KK Exhibit “A” – Objects of Intrigue 1998-1999
  LL Chinese Trade Ceramics 1998-2000
  MM Celadon 1991-2002
  NN Looking at Labels 1994
  OO La Force de la Tradition (virtual exhibit) 1995-1997
  PP T’ang Horses [ca. 1992]
  QQ Of Other Spaces 2001
  RR A Break in the Ice: Prints and Drawings from the
  Linda J. Lemmens Collection 1999
  SS Viewpoints: A student exhibition 2002
  TT A Guide to Visible Storage 2001
  UU Man Ray 2010-2011
  VV Tatau 2008-2009
  WW Ways of Knowing 2008
  XX The Village is Tilting 2008-2009
  YY Pleased to Meet You: Introductions 2012
  ZZ Paradise Lost? 2013
  AAA A Green Dress: Objects, Memory and the Museum 2011
  BBB Koerner European Ceramics Gallery [ca. 1990-20--]
  CCC Spirit of Islam: Experiencing Islam through Calligraphy 1999-2003
  DDD Pasifika: Island Journeys 1999-2003
  EEE Visions of Enlightenment: Buddhist Art at MOA 2011-2012

Series consists of records related to the administration and realization of exhibits that Halpin organized at the Museum of Anthropology. Records include correspondence, memoranda, handwritten notes, draft copies, proposals, brochures, newspaper clippings, newsletters, loan forms, photocopies of photos and articles, photographs, negatives, contact prints, travel insurance slips, grant applications, reports, and budgets. Many of the files include research conducted on specific artists featured in various exhibitions as well as pictures of their works of art, gallery plans, rough drafts of labels, and bibliographies compiled for research purposes.

Series consists of records relating to exhibition planning carried out by Rosa Ho in her capacity as Curator of Art and Public programmes. Included in the records are planning records for exhibitions, installations, and performances hosted by and produced in whole or in part by the Museum of Anthropology.
Records include correspondence, memoranda, financial records, artist lists, object lists, artifact descriptions, exhibition programs, hand written notes, exhibition announcements, designs for labels, photographs, transcripts, grant proposals, loan agreements, artifacts, newspaper clippings, photocopied scholarly articles, a grant application for the “Chilcotin War” project, a Musqueam weaving proposal, a telephone transcription, an audio cassette and exhibition proposals.

The series consists of materials related to Fuyubi Nakamura's participation in the creation and operation of exhibitions. Currently this exclusively relates to records of the exhibit (In)visible: The Spiritual World of Taiwan through Contemporary Art/形(無)形-台灣當代藝術的靈性世界 (November 20, 2015 – April 3, 2016).

Series consists of material related to Morrison’s role as a designer and involvement with the creation, planning and implementation of several exhibits at MOA. The designer’s role is to develop the overall physical presentation of the exhibit, and to determine how the exhibit can be an effective visual communicator. The designer develops ways of showing objects, graphics, and text that make up the exhibition.

The series is comprised of twenty sub-series corresponding to each exhibit that Darrin Morrison was involved in. Material consists of correspondence, exhibit catalogs, brochures, poster and invitation proofs, budgets, slides, copy and 35 mm negatives, floppy disks, project descriptions, postcards, artist histories, class schedules, artifact lists, floor plans, and display case dimensions.

Series consists of records related to exhibitions in which Porto was involved. Material includes planning documents, correspondence, meeting minutes, research, and promotional material.

Series consists of material relating to exhibitions mounted by the museum. Record forms in this series include correspondence, memoranda, notes, sketches, maps, newspaper clippings, insurance evaluations, inventories, ephemera, sketches, maps, receipts, plans and photographs.

The series is arranged into five subseries:
Subseries A: Loan Requests, Correspondence and Planning
Subseries B: Long-term exhibits
Subseries C: Temporary exhibits
Subseries D: Traveling Exhibitions
Subseries E: Loans in

Series consists of records pertaining to exhibitions at the Museum of Anthropology from the 1960s to the present day, including programming and events related to specific exhibitions. Material includes exhibition press releases, invitations, proposals, catalogues, and programmes. Records of this series are arranged into files for each represented exhibition, organized chronologically.

Series consists of correspondence, memoranda, minutes, reports, handwritten notations, draft copies, financial reports, proposals, brochures, pamphlets, newspaper clippings, photographs, programmes, grant applications, agreements and other textual and graphic records related to Museum of Anthropology exhibitions and the planning of them. Includes Exhibits Committee records.

The series is divided into the following subseries:

A. General Files 1979-1983

B. Planning Files 1973-2010

C. Long-Term Exhibits Files 1971-1994

D. Temporary Exhibits Files 1976-2017

E. Borrowed Exhibits Files 1981-2008

F. Exhibits Loaned Elsewhere Files 1985

G. Non-MOA Exhibits Research 1988-1990

H. Exhibit Openings 1999-2014

Series consists of records relating to exhibits Karen Duffek curated or was involved with in another capacity. The records span the entire breadth of the intellectual creation process, including research, funding, administrative concerns, exhibition design and installation, and publication. The series includes supplemental information about artists’ careers, correspondences, contracts, final reporting, publications relating to artists and the exhibitions, grant applications, educational exhibit materials, transcripts of interviews and public lectures, event planning, budgets, photographs, as well as exhibition publication development.

The series is arranged into 12 sub-series, each one relating to a specific exhibition:
Sub-series 2-A: Robert Davidson: “The Abstract Edge” (2004-2005)
Sub-series 2-B: Edgar Heap of Birds: “Wheel: Overlays” (2007)
Sub-series 2-C: Mike Nicholl [Yahgulanaas]: “Meddling in the Museum” (2007-2008)
Sub-series 2-D: Willy White: “My Ancestors are still Dancing” (2002-2004)
Sub-series 2-E: Bill Reid: “Gathering Strength” (2000-2004)
Sub-series 2-F: Multiplicity: A New Cultural Strategy (1993-1994)
Sub-series 2-G: Carl Beam Exhibit (2011)
Sub-series 2-H: Nicholas Galanin: “Raven and the First Immigrant” (2010)
Sub-series 2-I: Annie Ross: “Forest One” (2012)
Sub-series 2-J: “A Green Dress: Objects, Memory, and the Museum” (2011-2012)
Sub-series 2-K: Ishiuchi Miyako “ひろしま Hiroshima” (2011-2012)
Sub-series 2-L: Border Zones: New Art Across Cultures (2010)
Sub-series 2-M: Bill Reid: Beyond Essential Form (1986)
Sub-series 2-N: Anspayaxw (Satellite Gallery, 2013)
Sub-series 2-O: Cindy Sherman meets Dzunuk'wa (Satellite Gallery 2014)

Series consists of records relating to Elizabeth Johnson's curatorial activities regarding curation (intellectual creation) and coordination (administrative project management) of exhibits hosted by and produced in whole or in part by the Museum of Anthropology, including writing exhibit catalogues. The series consists of agendas, agreements, articles, artifact and acquisition lists, artist biography, attendance figures, books, brochure, business cards, budgets, catalogue drafts, comment book, contract lists, correspondence, curators statement, diagrams, drawings, evaluations, exhibit labels, exhibit proposals, exhibit panel layouts, exhibit resource binders, expenses, installation diagrams, internal forms (consent forms and exhibit proposal forms), financial records, flyer final report, guidelines, grant applications, invitations, map, memoranda, minutes of meetings, museum exhibit diagrams, notes, object records, permission forms, photographs, photograph labels, photocopies of photographs, plans, policies, press releases, professional guidelines, proposals, publications (books), publicity records, published articles, receipts, reports, reproductions of newspaper ads and articles, research notes, research papers, revisions, schedules, slide list, slides, speaking notes, student papers, surveys, transcripts of research interviews, translations, travelling exhibit, visitor comments, visitor surveys, and videos.

The series is arranged into the following sub-series, based on specific exhibitions:
Subseries A: The Spirit of Tibet
Subseries B: Festival Hong Kong Exhibits: Contrasts and Possessions
Subseries C: Translations of Traditions
Subseries D: Repair, Re-use and Recycle
Subseries E: Open House, 1987
Subseries F: Quilting in East Asia
Subseries G: Records of the Krista Point Exhibit in the Great Hall
Subseries H: A Family Affair
Subseries I: Ancient Cloth … Ancient Code?
Subseries J: Proud to be Musqueam
Subseries K: Hands of Our Ancestors
Subseries L: A Rare Flower
Subseries M: Unity Quilt
Subseries N: Chinese Peasant Textiles Art: Kwantung and Szechuan Provinces
Subseries O: Gallery 3
Subseries P: Nunavutmiutanik Elisasiniq
Subseries Q: Repatriation Panels
Subseries R: Wearing Politics
Subseries S: What is Canadian cultural property?
Subseries T: My Ancestors are still Dancing
Subseries U: Gathering Strength exhibit: Musqueam Weavers

Series consists of records created by McLennan in the course of planning and designing various exhibits, both at MOA and on behalf of MOA for other institutions such as the World Expo in 1986. Each specific exhibit comprises its own sub-series. Graphic material includes photographic material depicting artifacts used in the exhibit, artifacts at other institutions that could potentially be used for exhibit, staff involved in exhibit, events held surrounding the opening and closing of an exhibit including any special ceremonies and other people and items related to the exhibit. Textual material includes label text, research conducted in order to strengthen the exhibits, correspondence between McLennan and cultural heritage institutions, administrative records (i.e. budgets and finances, schedules and time frames) and public relations materials.
Subseries 1 through subseries 64 represent an earlier time frame when McLennan’s role at MOA was more related to exhibit and graphic design than to actively curating exhibits. Subseries 65 through subseries 81 represent McLennan’s increased role as a curator of exhibits which he often researched, curated and did the exhibit design.

Series relates to public programming activities associated with museum exhibits, including the museum exhibits committee, organizing of traveling exhibits and public programming related to exhibits and participation in other exhibit related activities.
Series consists of memoranda, correspondence, proposals, news releases, clippings, inventories, publications, photographs, circulars, budgets, programme descriptions, schedules, staff guidelines and other textual material.
This series is arranged into 3 sub-series:
A. Exhibits Committee (1982-1985): Sub-Series relates to Ratner’s participation in the museums exhibits committee.
B. Coordinating (1974-1986): Sub-series reflects the organizing of traveling
exhibits, and participation in other exhibit related activities other than public
programming.
C. Programming (1977-1987): Sub-series reflects activities related to public
programming associated with museum exhibits.

Series consists of records relating to exhibits curated by Jennifer Kramer. The records span the entire breadth of the intellectual creation process, including research material pertaining to exhibition subjects, transcripts of interviews used for research and publication purposes, administrative files and notes and correspondence pertaining to exhibition design, installation and publication development. Fonds currently has records from only one exhibit; additional exhibits material expected.

The series is arranged into sub-series relating to a specific exhibition:
Sub-series 1-A: Kesu': The Art and Life of Doug Cranmer (1964-2012)