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• May 2 - September 30, 2000 (Gallery 5)
• This is a travelling exhibition organized by the Glenbow Museum, Calgary. Featured are twenty-eight masterworks by Ojibway artist Norval Morrisseau.

• April 24 - September 3, 2002
• Contemporary art works from the Heiltsuk village of Waglisla (Bella Bella), B.C., and historical pieces from the Royal Ontario Museum’s R.W. Large Collection. We are honoured to host this extraordinary collection of rarely-seen objects, ranging from brightly-painted masks, carved figures, boxes, baskets, bows, walking sticks and staffs, to musical instruments, jewellery, tools, and fishing gear.

• July 10, 2007 - April 28, 2008
• Haida artist Michael Nicoll Yahgulanaas mixes it up at MOA with three site-specific installations inspired by the Museum’s current Renewal Project. Michael’s works incorporate media as diverse as car hoods and copper leaf (“Coppers from the Hood”), argillite dust and an entire canoe-bearing Pontiac Firefly (“Pedal to the Meddle”), and archaeology storage trays and Haida manga (“Bone Box”). In the process, he brings his own brand of humour, narrative, and social commentary to jumpstart new debates in the Museum’s changing spaces. Installations curated by Karen Duffek, Curator, Contemporary Visual Arts. Thanks to Canada Council for the Arts for their support of this project.

• November 3, 2012 - March 24, 2013 (The O'Brian Gallery)
• In her own celebrated work, Australian ceramic artist Gwyn Hanssen Pigott nudges pale-glazed tableware forms into still-life groupings of bowls, bottles and cups. Individually familiar, the juxtaposed forms speak to one another and to the observer with surprising emotion. In this exhibition, Ms. Pigott has selected objects from the Museum’s permanent, world-wide collection and re-assembled them, with her own works, in surprising new relationships. The “introductions” have been made based on colour, form, and pattern, often featuring objects that are normally never displayed together. The pieces are not placed within any historical or cultural context; rather they are grouped to illustrate that, regardless of social or cultural background, makers share similar aesthetic choices when making decisions about the creation of their work. Gwyn Hanssen Pigott is recognized as one of Australia’s most significant contemporary artists and has exhibited extensively in Australia, America, Europe and Asia. In 2002 she was awarded the Medal of the Order of Australia for service to the arts as a ceramic artist and teacher. The exhibition is curated by MOA Curator Dr. Carol E. Mayer and Susan Jefferies, past curator of Modern and Contemporary Ceramics at the Gardiner Museum, Toronto.

• 2013 Online exhibition: http://www2.moa.ubc.ca/voicesofthecanoe/
• Learn about the canoe traditions of the Fijian, Squamish, and Haida people and understand the historical and ongoing importance of canoe culture for these Indigenous peoples. The site features interviews from Indigenous artists, canoe makers, and others to encourage students to consider multiple points of view, and to question what is historically significant and what evidence is used to determine historical significance. It also hosts a range of evidence – photographs, maps, interviews, historical texts and short films. This website was developed by MOA in conjunction with The History Education Network/Histoire et Education en Reseau (THEN/HiER).

• November 24, 1987 - February 28, 1988 (Gallery 9)
• An exhibition of patchwork and embroidery wall hangings - traditional folk art that became a form of protest against the harsh conditions of life for Chile’s poor. The project was made possible through the support of the Salt Spring Island Voice of Women.

• February 18 - May 24, 1992 (Gallery 9)
• Student exhibition: Japanese, Indian, Chinese, Philippine, Dutch, Salish, and Peruvian textiles are used to highlight how various peoples prolong the life of household goods and clothing. This exhibit continues MOA’s long-term commitment to “recycle” its entire world-wide collection of textiles from protective darkness to public view

• May 24 - July 1988 (Theatre Gallery)
• People have lived at Musqueam for at least 3,000 years. Over the last century the City of Vancouver has grown up around the Reserve created at this ancient site. In this exhibit of archival photographs and oral history, two Musqueam women, Verna Kenoras and Leila Stogan, tell the story of their people over the last one hundred years. Cosponsored by the Musqueam Band Council.

• November 19, 2017 – April 15, 2018
• CURATOR: Sue Rowley
• For generations Salish peoples have been harvesting the resources of their territories, transforming them into robes of rare beauty and power. Symbols of identity they acted as legal documents and were visible signifiers of the presence of knowledge holders and respected people. Now mostly stored away in museums these masterworks are rarely seen. They have much knowledge to share and many stories to tell. Musqueam asked the Museum to bring these weavings to inspire weavers and share part of this rich legacy with all of us. Salish weavers selected ten blankets from the 1800s to be part of this unique exhibition. Returning from Finland, Scotland, England and the eastern United States this is the first time that these blankets have been seen in Vancouver. This is a once-in-a-lifetime opportunity to see the unique design of Salish blankets up close and to learn the rich history and significance of weaving in this region. The exhibition takes you on a journey through the past two hundred years of Salish weaving from the early 1800s through to today’s vibrant renaissance. Presented by Musqueam, MOA and a community of Salish weavers.

• May 17, 2018 – October 8, 2018
• CURATOR: Laura Osorio Sunnucks
• Arts of Resistance: Politics and the Past in Latin America illustrates how communities in Latin America use traditional or historic art forms to express contemporary political realities. Displaying art and performance by artists in Mexico, Guatemala, Peru, El Salvador, Ecuador and Chile, and paying special attention to marginalized communities, this exhibition explores the role of creativity during times of political turmoil. Latin American culture and folkloric arts are already well known abroad but we’re inviting visitors to take a closer look, to understand the political and social significance of these artistic traditions. For example, one of the works on display will be a contemporary codex, or pictorial manuscript, from Mexico. Written using pre-Hispanic symbols, this work tells the story of the forced disappearance in 2014 of 43 students in Ayotzinapa, Mexico. This work connects pre-contact Mesoamerican peoples and the Spanish conquest with Neo-colonialism and racism in Mexico today. This is a unique opportunity for visitors to learn about Latin American politics through the lens of contemporary art. This exhibition demonstrates how objects can embody important historical and cultural memories and has the potential to influence how Latin American art and culture are showcased in museums and galleries.

• February 12, 1986

Utilisé pour : Chinese Opera Costumes

• October - November 7, 1976
• Student exhibition: An exhibit of the 19th century Chinese theatre costumes, used by the Jin Wah Sing Musical Association of Vancouver, who will present a demonstration and Chinese opera music on October 10 at 3:00 p.m.

• April 11 - September 1979
• Student exhibition: A Fine Arts student colour slide presentation. Six hundred slides are collaged on the theatre’s six screens in a creative view of contemporary media and advertising.

• January 8 - February 11, 1980 (Recent Acquisitions Cases)

• March 28, 1980 - January 3, 1981 (Gallery 9)
• Student exhibition

• December 1, 1990
• On Saturday, December 1, 1990, the Museum of Anthropology will be joining with other museums and galleries around the world to pay tribute to those who are affected by and those who have lost their lives to AIDS. Special attention will be paid to Women and AIDS.

• 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.

• December 1991 – April 19, 1992
• Martaban Jars, so named because they were shipped out of the Burmese port of Martaban, were an important trade item in Southeast Asia and the Philippines during the Song and Ming dynasties. Sometimes also known as talking or dragon jars, these huge, hand-built jars functioned as utilitarian and sacred containers, and today provides insights into the considerable skill of early potters.

Utilisé pour : Eye of the Beholder

• September 8, 1991
• Student exhibition

• April 13 - June 27, 1993 (Lower Lobby)
• This exhibition of works by student artists/potters examines historical techniques in a contemporary context. By studying the history and traditions of potters of Asia, Europe and the Americas, these students have created unique contemporary works inspired by technical and/or thematic echoes from the past. This exhibition is co-sponsored by the Emily Carr College of Art and Design.