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Subseries consists of records relating to the exhibit “Lyle Wilson: When Worlds Collide.” The exhibit was installed in the Theatre Gallery of the Museum of Anthropology from June 20, 1989 to September 1989. In his capacity as Designer, Skooker Broome worked on the planning, designing, and installation of the exhibit and Karen Duffek curated. Records include an artist statement, artifact list, and an exhibition statement and acknowledgment.

Subseries consists of records relating to the exhibit “Heredity: Hereditary Chiefs of the Haida.” This photo-based exhibit was installed at the Museum of Anthropology from April 28, 1998 to February 21, 1999. Records include: drafts and final artist statement, artifact list, handwritten notes, photographic slides, pencil and ink diagrams, correspondence, memoranda, publications, announcements and press releases, exhibition description, agenda, release forms for photographs, exhibit budget, computer exhibit diagrams, and exhibit proposals.

Subseries consists of records relating to the “From Under the Delta: Wet-Site Archaeology in the Lower Fraser Region of British Columbia” exhibit installed at the Museum of Anthropology from March 1995 to March 1999. In his capacity as Designer, Skooker Broome worked on the planning, designing, and installation of the exhibit. Records include memoranda, a copyrighted article by Kathryn Bernick, invoices, color photographs, negatives, color slides, contact sheet, exhibit plans, drafts of exhibit captions, photocopy of a newspaper article, correspondence, hand-written notes, budgets, funding application, object summaries, drawings, and publications.

Subseries consists of records relating to the exhibit “Exhibit A: Objects of Intrigue.” In 1999, the Museum of Anthropology celebrated its 50th anniversary. To mark this important milestone, the Museum opens “Exhibit A: Objects of Intrigue” in Gallery 5. This exhibit and accompanying publication “50/50 Fifty choices, Fifty Years,” highlights the museum’s diverse collections through objects selected by artists, staff, and friends connected to the museum over the years. This was the first exhibit to be designed entirely on computer. From the initial layout of components to the final production of exhibit labels and visual materials, the exhibit design was developed and managed electronically. Skooker Broome utilized the Mini-CAD program to plan for the exhibit design, layout, and fabrication of exhibit components. Records include: correspondence, design specifications, design notes, donor lists, computer renderings, drafts of computer layouts and designs for announcements, drafts and originals of computer layouts and designs, drafts and originals of computer layouts and designs for labels and didactic panels, artifact lists, exhibit object summaries, reports, object accessioning records, fundraising records, documents outlining the content and context of the exhibit, conservation documents, budgets, business cards, scholarly articles, contact lists, invoices, and phone lists.

Subseries consists of records relating to the “Spirit of Islam: Experiencing Islam through Calligraphy” exhibit installed at the Museum of Anthropology. The exhibit is a collaborative work with local Muslim community members. The intent of the exhibition is to promote cultural diversity and to illustrate Islam as a way of life. The exhibition opened in October 2001, and continued until May 2002. In his capacity as Designer, Skooker Broome worked on the planning, designing, and installation of the exhibit. Not only did he work on the exhibit, he also participated in the launching of the “Spirit of Islam” educational website. Funded by the Department of Canadian Heritage, the website includes images, text, audio, and video from the original exhibition. Records in the subseries include: correspondence, contact lists, exhibition records, draft proposals and proposal, budgets, artifact lists, program planning worksheets, committee reports and drafts, agendas, grant applications, programming planning worksheets, minutes of meetings, loan condition and agreement forms, statements of agreements, exhibition diagrams and plans, exhibition design and art work, exhibit panel information and labeling designs, exhibit flyers and design layouts, photocopies of business cards and business cards, press releases, negatives, drafts of catalogue, notes, policy records, publications, exhibit sketches, letterhead samples, typeface samples, Islamic script samples, exhibition invitation cards, computer renderings of the exhibition layout and design, fundraising records, and product brochures and price lists. Textual records also include annotations on “Post-It Notes.” All records relate to aspects of planning, creating, or installing of the exhibit.

Sub-series consists of textual records from the one-man show of Northwest Coast First Nations artist Robert Davidson. Records include exhibit correspondence, newspaper articles and a copy of the Canadian Conservation Institute Journal (vol. 3, 1978) that contains an article by Davidson.

Sub-series consists of textual and graphic records related to the public exhibition of drawings and poems by Nuu-Chah-nulth artist, Ron Hamilton, which depict the cosmology of the First Nations people. Records include an artists’ biography, notes on exhibit planning, loan forms, and a copy of the exhibit comment book. Also included are photographs from the exhibit and of Hamilton’s drawings, recordings of First Nations gatherings taped at the exhibit, and sound recordings of comments by Hamilton on his work.

Sub-series consists of textual records of the two-man show of art by Lyle Wilson and Doug Cranmer, two native artists of the region. Includes biographies of the artists, the opening speech from the exhibit, a news release and a museum brochure.

Sub-series consists of records from the photographic exhibition by David Neel, Kwagiutl, on First Nations elders in British Columbia. Records include newspaper reviews, correspondence, exhibit proposal and planning, and transcripts from interviews with chiefs and village elders. Also included are slides of portraits of chiefs and elders.

Sub-series consists of textual records for the West Coast art exhibit organized by Ron Hamilton and Marjorie Halpin. Records include Hamilton’s biography, exhibit correspondence, project proposal and exhibit planning. Also included is a transcript from a taped interview of Ron Hamilton by Karen Duffek in 1989.

Sub-series consists of records related to the 1986 exhibition on the art of Jack Shadbolt and includes textual records, photographs, slides, and one lecture tape. The textual records include grants and contracts, correspondence requesting loans of specific artwork for the exhibit, records relating to exhibit planning and compilation of the exhibit catalogue, exhibit reviews, a copy of the exhibit comment book, and interviews with Shadbolt. Also included are photographs of exhibit pieces.
The sub-series has been divided into three sub-sub-series:

1. Grants, 1984-1986
2. Loans, 1980-1986
3. General, 1973-1986

Sub-series consists of textual records from the exhibit “ Ouroboros” by Stephen Clark, and curated by Halpin. Records include correspondence between Halpin and Clark, letters received by Halpin, an exhibit pamphlet, a public relations release, newspaper articles on the exhibit, and a copy of the exhibit comment book.

Sub-series consists of textual records related to the exhibition “Sensibilities” that challenged the notations of segregated collections space according to culture. The basic premise of the exhibit was for the viewer to come up with their own interpretation as to the objects presented before them. Records include exhibit planning notes, exhibit floor plan drawings, correspondence, loan forms, and newspaper articles about the exhibit.

Sub-series consists of textual records for the exhibit titled “NMM: Children of the Raven” based on the beliefs and culture of British Columbia First Nations, with an emphasis on ceremonial objects and their iconographic meanings. Records include memos; exhibit floor plans, text blocks for exhibit, and colour drawings of items in the exhibit.

Sub-series consists of textual records related to the exhibit on the voyages of Captain Cook to Nootka Sound. Included is the paper “Encounter 1778: Drawings and Watercolours of Nootka Sound by John Webber” by Natalie MacFarlane, exhibit scripts, video scripts, correspondence, and loan forms for the Webber drawings.

Sub-series consists of records related to the exhibition 'Pigapicha! 100 Years of Studio Photography in Nairobi,' which was on display at the Museum of Anthropology from November 25, 2014 - April 5, 2015. Porto was the Curatorial Liaison for this exhibition, which was curated by Katharine Greven and first displayed at the Nairobi National Museum in 2009.

The exhibition was described on the Museum of Anthropology's website as follows:

"MOA takes a profound look at Kenya’s popular culture through an illuminating collection of studio photography, from the 1910s to the present day, in the North American premiere of Pigapicha!, November 25, 2014 through April 5, 2015. Including more than180 photographs spanning a century, this deeply moving exhibition showcases portraits that are carefully staged in the studio as well as those quickly taken on the streets of Nairobi. The exhibition documents the customs of modern Kenyan urban culture while supporting an East African history of photography.

“MOA has always served as a forum for cultivating an understanding and appreciation of the diversity of world arts and cultures traditions,” explains Nuno Porto, Curatorial Liaison for Pigapicha! at MOA. “This Canadian premiere exhibition aligns with MOA’s mission through a comprehensive examination of studio photography in East Africa, incorporating works from all backgrounds – as opposed to similar projects which have focused on Kenya’s booming middle-class.”

Curator and professional photographer Katharina Greven, formerly of the Goethe-Institut in Kenya, partnered with more than 30 photography studios in Nairobi and consulted with photographers, studio operators, artists, bloggers, journalists, and cultural scientists to curate this diverse collection of portraits – a subtle balance between the fine arts and the rich, distinct flavors of East African popular culture.

'A highly-regarded art form in Nairobi, portrait photography is used to tell stories, share social status, and transform everyday life,' says Curator Katharina Greven. 'More than a direct reflection of the individual, these self portraits highlight and amplify desirable features to create an illusion of the idyllic self. In the past 15 years, studio photography has experienced an unfortunate decline in popularity – likely a direct result of cameras, now commonplace on mobile phones. For this reason, Pigapicha! serves to recognize and preserve portrait photography as a significant art form and thus connect us to the significant history of urban Kenya before it is lost.'

Pigapicha! – which literally translates as “take my picture!” – will include more than 180 images ranging from carefully staged artistic prints, to passport photos, to pictures snapped hastily on the streets of Nairobi. Judiciously arranged into six thematic groups –Uzee na Busara (Age and Wisdom), I and Me, Open Air, Imaginary ‘Safari’, Speaking from Yesterday and Intimacy – each image will offer a unique stance on the attitudes, beliefs, and customs of generations of Nairobi citizens.

Born from the cooperative efforts of Iwalewa Haus and the DEVA-Archive, both with the University of Bayreuth, and the Goethe-Institut in Nairobi, this exhibition opening at MOA will mark the first time this powerful collection has been displayed for a North American audience. First presented in 2009 at the Nairobi National Museum, Pigapicha! has since been exhibited in 2011 at Iwalewa Haus in Bayreuth, Germany and in 2013 at the Forum des Arts et de la Culture in Bordeaux, France."

This subseries includes materials used in the planning of the exhibit case layout and case design, including Earthquake Mitigation. The planning involved considering innovative ways to use museum space, safety and conservation of the collection materials as well as the enjoyment and interaction with the public. The subseries includes videotapes pertaining to earthquake mitigation. Areas of focus include tests of the current visible storage cases using dental wax, nylon microfilament and securing mechanisms. Records include 4 videocassettes.

This exhibit, which does not appear in the records as ever occurring at the museum, contained ceremonial objects honouring the bear, from the Ainu people, who are indigenous to the island of Hokkaido in northern Japan.

This exhibit was created by UBC graduate student Michelle Willard, and housed a collection of printed cloths that Ghanaians’ considered to be highly significant and shows how they are worn in Ghana to proclaim political loyalties and commemorate important events.

This was a living exhibition in which the artist, a Tsimshian Weaver from Lax Kw’alaams, publicly weaved a child-size Chilkat robe, alongside a display of his own weavings, and some historical weavings in MOA’s collection, and historical and contemporary photographs of people weaving.