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• April 13, 1995 – December 7, 1997

Use for: Forest One by annie ross, annie ross: Forest One

• March 20 - May 27, 2012 (The Great Hall)
• The Great Hall: gallery, performance space, parking lot. Yes, parking lot! For about two months this spring, annie ross’ amazing Forest One – a full-size, 1956 Nash Metropolitan automobile that the artist has wrapped, twined, and plaited with cedar-bark and other reclaimed materials –will be displayed here, in all its woven glory. Using bark salvaged from clear-cut urban forests, Ross, a weaver and Assistant Professor in First Nations Studies at Simon Fraser University, completely transformed the car inside and out. Forest One speaks of colonization, urban sprawl, trash, and remediating the urban landscape through acts of salvage.

Use for: Forts and fortifications

• [1984]
• A series of panels depicting seasonal activities.

• May 30 - December 2, 1991 (Gallery 10)
• Student exhibition: Under the direction of curator and professor Marjorie Halpin and designer David Cunningham, students of Anthropology 431 (Museum Principles & Methods) organized and exhibition of early 20th Century West African sculptures donated to MOA by Dr. Eric Sonner. Enhancing the sculptures are African textiles drawn from MOA’s permanent collection. This special exhibit inaugurates MOA’s new Gallery 10.

• June - July, 1995
• This monumental cedar sculpture stands over 15 feet high and features male and female figures standing upon a giant frog. The sculpture symbolizes a Haida origin story of the Frog crest, one of four crests which Jim Hart has the right to use. The male figure captures the moment of transformation between from and human form. The sculpture was commissioned by Westminister Management Corporation and Bentall Corporation and is generously on loan to the Museum.

• March 19 - September, 1992 (Research Collections)
• Student exhibition: MOA’s unique visible storage, which brings objects normally held in museum “basements” into public view, was created for independent study. This year students of Anthropology 431, Museum Principles and Methods, have produced eight experimental displays to explore a variety of questions with which museums such as MOA grapple - what to label the unknown, how to simplify the complex, and whether to exhibit the sacred.

• 1991
• Student exhibition

• 1996

• March 1995 - March, 1999
• This exhibition features rare preserved wood and bark objects dating from the past 4,600 years, most of which have never before been on public view. In consultation with local First Nations, guest curator and archaeologist Kathryn Bernick developed the exhibition with Ann Stevenson, MOA’s Collections Manager, to illustrate unique information about traditional fishing, woodworking, and cordage technologies and to explore cultural resource management issues.

• 1999 - 2004
• To mark our 50th Anniversary in 1999, the Museum created a new gallery space to highlight the richness of Northwest Coast art, past and present, and the significant relationships with First Nations that continue to inform and inspire the work of the Museum itself.

• December 2, 1990 - March 1, 1991
• Recently presented with the United Nations Global 500 Award in recognition of their environmental work, Snake in the Grass Moving Theatre performs Ghost in the Machine. Two years in development, and with the cast of 17 of some of Vancouver’s most innovative actors, dancers, musicians and sculptors, Ghost in the Machine offers unique theatrical and exhibition experiences. The production weaves a richly layered tapestry of images and moods, explores icons of nature and technology and the tensions between them, and dramatically mirrors our own cultural choices past and present. After the performances, the sculptures will be exhibited in various locations in the Museum. Performances: November 28, 29, 30, & December 1, 1990.

• October 4, 1988 - January 1989 (Gallery 5)
• Donations are an important part of MOA’s collections and this highly visual exhibit displays some of the Museum’s recent acquisitions. Artifacts on display are from North America, Asia, South America and Europe. The Museum’s collections are expanding rapidly and with this exhibit, MOA wishes to acknowledge the vital role of donors in contributing to the growth.

Use for: Gitskan

• April 6 - September 26, 1993
• By selecting examples from MOA’s collection of over 300 Nuu-chah-nulth baskets and illustrating how they were made, moved into private collections, and acquired by museums, the process by which objects are reinterpreted by both collectors and museum professionals is made visible. In this exhibit, curator Charlene Garvey critically examines changes in meaning that can occur over the life of a basket, and how these interpretations change over time to reflect beliefs about Native basketry, women’s arts and museological practices.