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• February 12, 1986

• June 22, 2004 – January 30, 2005 (Gallery 5)
• The Abstract Edge will bring together thirty works by Davidson with five 19th century Northwest Coast artefacts. Many of the contemporary works belong to Davidson and are being created specially for this exhibition; some will be borrowed from public and private collections. The contemporary works will include paintings on a variety of materials, sculptural works and sketchbooks. The historical objects will be drawn from the Museum and other collections.

• March 7 - May 25, 1986 (Gallery 5)
• Contemporary and traditional button blankets from the Northwest Coast. This project was made possible through the support of the Indian Arts and Crafts Society of British Columbia.

• For remains of structures not of ancient times that have been destroyed or are in a state of great disrepair or decay.

• April 20 - September 15, 2013 (The Audain & O’Brian Galleries)
• See more, hear more & read more about the artists and artworks in the exhibition using the Safar/Voyage web app: safar.moa.ubc.ca Safar/Voyage is the first major exhibition of contemporary art from these regions to be shown in Vancouver. It is constructed as a journey in the company of 16 artists, each of whom is neither fixed inside the territories of the Middle East nor permanently diasporic. These artists define themselves and the world according to their own creative representations, often informed by culturally specific conditions. Wrapping the globe, their diverse artworks speak to the universal theme of voyage (a translation of the Persian safar), from the external and geographical to the internal, emotional, and existential. They acknowledge the realities of political turmoil and revolution, and how politics frames both trauma and desire, whether individual or collective. Voyage is seen to take many forms. Expressed in media ranging from painting, sculpture, and video installation to performance and a carpet, it is as innocuous as tourism (with a twist), as disturbing as war—the violent crossing of borders—and as philosophical as the transience of life. The artists of Safar/Voyage are positioned as our guides, their visions mined for reflections on some of the most urgent issues of our time. The artists featured are Adel Abidin, Tarek Al-Ghoussein, Nazgol Ansarinia, Kutlug Ataman, Ayman Baalbaki, Ali Banisadr, Taysir Batniji, Mona Hatoum, Susan Hefuna, Raafat Ishak, Y.Z. Kami, Farhad Moshiri, Youssef Nabil, Hamed Sahihi, Mitra Tabrizian, and Parviz Tanavoli. The exhibition is curated by Dr. Fereshteh Daftari, former curator at the Museum of Modern Art, New York. MOA Coordinating Curator Dr. Jill Baird, Curator, Education & Public Programs. The exhibit will be accompanied by a publication.The exhibition features a wide range of public programs including curator and artist talks, musical performances, as well as the Hassan and Nezhat Khosrowshahi Distinguished Lecture Series featuring talks by noted architects and scholars Nader Ardalan, Daniel Roehr, Hossein Amanat, and Abbas Amanat. Safar/Voyage is made possible through the generous support of: Presenting Sponsor: Deloitte; Publication Sponsor: UBS Bank (Canada); Lead Media Sponsors: CBC & The Vancouver Sun; Other Sponsors: Wesbild Holdings, Canvas Magazine, Chubb Insurance Company of Canada, HUB International Insurance Brokers, The Canada Council for the Arts, SDV Logistiques (Canada) Inc., Lamar Transit Advertising, the Consulat général de France à Vancouver, and Robert McInnis.
• We would also like to thank the Safar/Voyage Exhibition Volunteer Committee for their exceptional work to make this exhibition possible: Mrs. Nezhat Khosrowshahi, Chair; Mrs. Rosalie Stronck, Vice Chair; Mrs. Maymanat Bakhtiar; Mr. Hank Bull; Mrs. Fiona Entwistle; Mrs. Yulanda Faris; Mrs. Shawne MacIntyre; Mrs. Marjan Navabi; Mr. Sohrab Saeb; Mr. Parviz Tanavoli; and Mrs. Lisa Turner.

Use for: Sailboat

Use for: Visions of Power, Symbols of Wealth: Central Coast Salish Sculpture and Engraving

• October 21, 1980 - April 5, 1981 (Gallery 5)
• Salish Art Exhibit Guided Orientations October 26 and November 2, 2:30 pm. Professor Michael Kew, guest curator of this exhibit will conduct the tours. Free with Museum admission.

• [19-?]

• January 28 - February 9, 1986. A commercial exhibition.

• November 4, 2021 – March 27, 2022
• CURATORS: Nya Lewis (founder + director, BlackArt Gastown), Nuno Porto (MOA Curator, Africa), Titilope Salami (PhD candidate, Department of Art History, Visual Art and Theory, UBC)
• Sankofa is the idea of moving forward while reaching back to connect to one’s heritage. It is the notion that taking pride in heritage helps us to move into the future. Sankofa comes from the Ghanaian Akan language, and the word and its essence have been adopted by many African and Black people around the globe as an expression of cultural and political affirmation. Sankofa: African Routes, Canadian Roots looks at some of the divergent—and often fragmented—paths of political mobilization and cultural assertion that African and Black people in the diaspora have taken. Centered on works by contemporary artists from Lagos, Nigeria, and Vancouver, in conversation with objects in MOA’s permanent collection, this exhibition shares stories, histories and projects of African and Black affirmation. In particular, it draws connections to historical contributions and the growing vitality of Black Canadians in Vancouver. Ultimately, Sankofa: African Routes, Canadian Roots celebrates different ways of understanding the world through the lenses of African and Black communities, the wealth of their cultural and art practices, and their inspiring legacy.

Use for: Statue

• February 6-11, 2007 (Museum Lobby)
• Dominic Benhura is an acclaimed Zimbabwean artist credited for his contributions in transforming Shona stone sculpture into a world-class modern art. The sculptures shown here attest to his ability to portray human feeling through form and movement rather than facial expression.