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• March 28 - June 10, 2006 (Gallery 10)
• In partnership with the UBC Dept of Latin American Studies, UBC School of Social Work and Family Studies, the Liu Institute for Global Issues, the Peter Wall Institute for Advanced Studies, and Vida y Paz, MOA is pleased to present a series of photographs by Colombian photo-journalist Jesús Abad Colorado. The photographs document contemporary effects of war and displacement within Colombia, and the ways in which those affected express their resiliency. The exhibit will precede the World Peace Forum at UBC (June 23-28, 2006), and is intended to spark critical thinking about issues of global significance.

• October 13, 2003 - October 31, 2004.
• MOA Curator of Ethnology Pam Brown (Heiltsuk), guest curator Tanya Bob (Tahltan), and members of the Tahltan community create the first ever museum exhibit of Tahltan First Nations art and culture. The Tahltan live in the villages of Iskut and Dease Lake on the Stewart-Cassiar Highway, and Telegraph Creek, below the Grand Canyon of the Stikine River. This exhibit has been developed collaboratively to highlight the profound and continuing links between the Tahltan and their land, culture, and heritage.

• Exhibition of Contemporary Hawaiian Art
• February 9 - June 29, 1997
• The first exhibit of contemporary native Hawaiian art to visit Canada, Maui: Turning Back the Sky features 50 works in media ranging from paintings and photography to sculpture to fiber art. The pieces evoke Hawaiian history, family geneologies, astonomy and the navigational technology of the Polynesian people.

Use for: Handicrafts

• Opened June 28, 1994.
• This spring, MOA’s collection of Bill Reid’s masterworks in wood, silver, and gold will be placed on permanent display.

• April 1 - June 30, 1999
• A one-case exhibit of metalworks by Kwakiutl artist Mary Anne Barkhouse, whose original pieces of jewelry may be found in the Museum’s permanent collections, as well as for sale in the Museum Shop.

• November 1, 2018 – March 31, 2019
• CURATORS: Carol Mayer curated MOA’s installation of this exhibit. The exhibit originated at the Nevada Museum of Art and was organized by William Fox, Director of the Centre for Art and Environment, and scholar Henry Skerritt. The exhibition was drawn form the collection of Debra and Dennis Scholl.
• Aboriginal women have been redrawing the boundaries of the contemporary Aboriginal art scene in Australia since the late 1980s, redefining a movement that continues today. Their work resonates with vitality and relevance, their Indigenous ways of knowing the world captured in each brush stroke and woven thread. The strength of their vision is immediately evident in the works, asserting their authority like lightning bolts in the night sky. From the vast to the minute, the subjects of the works range from distant celestial bodies to the tiny flowers of the native bush plum. They also encompass the day-to-day acts of their lives, from venerable craft traditions to women’s ceremonies. And though the subjects are drawn from the visible and natural world, they are not bound by it. The works invoke the infinite, challenging the very constraints and constructs of time and space. Marking the Infinite features the work of nine Aboriginal women—Nonggirrnga Marawili, Wintjiya Napaltjarri, Yukultji Napangati, Angelina Pwerle, Carlene West, Regina Pilawuk Wilson, Lena Yarinkura, Gulumbu Yunupingu and Nyapanyapa Yunupingu—each from different remote regions of Australia. They are revered matriarchs and celebrated artists who are represented in the collections of the Australian National Gallery. Most of them make their Canadian debut at MOA with this breathtaking exhibition. The artists bring their ancient cultural knowledge into their contemporary artistic practice, and continue to create art to ensure their languages, land and knowledge survive in an increasingly digital world. Their works are steeped in the traditions of their communities and yet speak to the universal themes of our shared existence, revealing the continued relevance of Indigenous knowledge in understanding our time and place in this world.

• 29 October, 2010 - January 23, 2011
• Man Ray, African Art, and the Modernist Lens brings to light photographs of African objects by American artist Man Ray (1890-1976) produced over a period of almost twenty years. In addition to providing fresh insight into Man Ray’s photographic practice, the exhibition raises questions concerning the representation, reception, and perception of African art as mediated by the camera lens. Curated by Wendy Grossman, the exhibition frames the objects and images within diverse contexts, including the Harlem Renaissance, Surrealism, and the worlds of high fashion and popular culture.

• This was an ongoing series of exhibitions held in Montréal from 1968-1984 in the pavilions built for Expo 1967. The Museum of Anthropology curated and provided materials for one of these exhibitions from 1969 to 1970.

• February 28, 1993
• This is one of a series of displays that show the contemporary work of BC ceramic artists alongside historical examples of the same technologies from the Museum’s collection, particularly those in the new Koerner Ceramics Gallery.

• October 1, 1993 - February 27, 1994 (Gallery 10)
• This exhibit explores the importance of Mabel Stanley to her family and her community. It features her ceremonial regalia that signifies her Kwakwaka’wakw culture and status.

• March 29 - Summer, 1994
• This display gives MOA visitors a unique opportunity to see a work of art that represented British Columbia’s First Peoples at Expo 92 in Seville, Spain.

• June 20, 1989 - September 1989 (Theatre Gallery)
• Lyle Wilson, a Haisla artist, uses the traditional symbols of northern Kwagiutl art, shifting and fragmenting them into personal statements on art, culture, and power. A selection of his drawings, etchings, and silkscreen prints is accompanied by his works in wood and other media.

• October 4 - December 16, 2012 (The Audain Gallery)
• Bursts of bright light danced across the royal courts, ceremonies, processions and battlefields of pre-Columbian Peru. Reflected by the gold and silver of crowns, jewelry, regalia, costumes and banners, such luminosity proclaimed the divine power and authority of Andean priests and rulers for nearly 2,500 years. Despite the 16th century Spanish Conquest, the importance of the reflective properties, and divine qualities traditionally associated with gold and silver, were not forgotten. New techniques were developed to satisfy the novel demands of the Catholic Church and colonial elite. Later, Peruvian Independence inaugurated a revival of the indigenous use of silver, and the introduction of a new style of silverware celebrating the country’s distinct flora and fauna. Luminescence: the Silver of Peru traces the long history of silverwork and the fascination with the metal’s divine and luminescent qualities. It will display pre-Columbian works to those made by contemporary artists, including national treasures seldom seen outside of Peru. The exhibition is curated by MOA Director Dr. Anthony Shelton, and made possible through the generous support of the Pan American Silver Corp. and the Patronato Plata del Peru.

• March 25 – December 7, 1996