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• April 5 - September 4, 1983
• Student exhibition

• October 25, 2013 - March 30, 2014 (The Audain Gallery)
• . In 1949, the Cuban writer and ethno-musicologist, Alejo Carpentier (1904 – 1980), coined the term the “marvellous real” to describe a particular kind of magic realism that is manifest in the arts and everyday life of Latin America. Eluding the expected through bizarre amalgamations, improbable juxtapositions, and fantastic correlations, the marvellous real is, as Carpentier said, “neither beautiful nor ugly; rather, it is amazing because it is strange.” This exhibition features 55 artworks from Mexico that capture the idea of the marvellous real. Drawn from the FEMSA Collection in Mexico, the exhibition includes works by Dr. Atl, Leonora Carrington, Jean Charlot, Juan O’Gorman, Alice Rahon, David Alfaro Siqueiros, Juan Soriano, and Rufino Tamayo, as well as a younger generation of visual artists like Carlos Amorales, Sandra Cabriada, Claudia Fernández, Adela Goldbard, Yishai Jusidman, Alejandro Santiago and Francisco Toledo. Curated by Dr. Nicola Levell (Assistant Professor, Anthropology, UBC). The exhibition is made possible through the generous support of the FEMSA Collection, the Agencia Mexicana de Cooperación International Para el Desarrollo, the Consulado General de México en Vancouver, the Ollin Mexican Canadian Association for Arts, Culture and Education, and the Fundación Alejo Carpentier.

• October 20, 2001 - May 12, 2002 (Galleries 8, 9, 10)
• . Through the art and understanding of calligraphy, the exhibit introduces visitors to the aesthetics, spirituality, and principles of education related to the world of Islam. This project was developed in collaboration with members of the Lower Mainland Muslim community and presents a selection of outstanding examples of Islamic art and calligraphy from different historical periods. This is the first major exhibition organizes by an Canadian institution to address the arts and beliefs of Islam. A website was created as part of the exhibition: http://www.moa.ubc.ca/spiritofislam/index2.html. This comprehensive online resource approaches the study of Islam through calligraphy. The Spirit of Islam features examples of Islamic calligraphy, historical timelines, cultural connections, calligraphy writing lessons, and interactive elements including sound and visual aids. Discover the diverse voices of Islam by listening to community interviews. The resource section is designed for teachers and includes notable dates, a glossary, and lesson plans surrounding issues of stereotyping and diversity. Funded by the Department of Canadian Heritage.

• 1997

• April 12 - June 15, 1977
• Student exhibition

• May 19 - September 27, 1987 (Gallery 5)
• An exhibition featuring non-destructive scientific techniques used to yield information beyond the scope of normal methods of curatorial investigation.
• Kelowna Centennial Museum, Kelowna, BC Travelling January 19 – February 29, 1988. Provincial Museum of Alberta, Edmonton, AB Travelling March 26 – May 15, 1988

• July 21, 1992 - April 4, 1993 (Gallery 5)
• This exhibition begins as a work in progress that offers the public access to what normally occurs behind the scences in the creation of an exhibition. The exhibit, which opens in September, presents the developmental work pioneered by MOA staff to examine the complex and dynamic painting traditions of the First Peoples of the B.C. coast. The results of infared photography, raking light and computer images are used in the exhibition gallery by contemporary First Nations artists of the northern coast to recreate paintings not seen for more than a hundred years.

• March 21 – June 4, 1996

• 1963

• February 6 - September 3, 2007
• The Village is Tilting: Dancing AIDS in Malawi features a series of masks, photographs, and videos documenting the depth of awareness and cultural response to the AIDS pandemic by rural Malawians. More than a plaintive victim's cry, The Village is Tilting uses elements of Gule Wamkulu itself - dance, drama, dialogue, and humour - to strip away conventional images of AIDS to reveal its inextricable links to an interconnected set of conditions and causes: poverty, gender inequality, and civil injustice. The exhibition is guest curated and assembled by Vancouver-based photographer Douglas Curran, who has documented the Chewa mask culture for over ten years.

• October 27, 1987 - January 31, 1988 (Theatre Gallery)
• A look at white urban culture through the lens of Iroquois artist/photographer Richard Hill. This exhibit is part of the Indian Modern series and was made possible through the support of the Canada Council.

• July 4 - August 31, 1977
• Student exhibition: A M.A. thesis exhibition prepared by Emmanuel Onwuzolum.

• Thru December, 2000
• Three exhibit cases highlight different aspects of Northwest Coast art. One features several turn-of-the-century paddles; another offers selections from a remarkable recent bequest of Northwest materials collected by Tom and Frances Richardson. A third presents two contemporary works by master artist Dempsey Bob (Tahltan) alongside an older Tlingit piece from the Museum’s collections.

• 1985

• November 1, 2006 - January 14, 2007 (Lower Lobby)
• Buddhism was introduced to Tibet in the seventh century, and since that time Tibetan Buddhist sacred art has grown and flourished. The Tibetan word ?thangka? refers to a work done on cloth and set in a silk or cotton frame. In this small exhibit, MOA is pleased to present several works by Kalsang Dawa, a master practitioner in the Thangka style.

Use for: Teepees, Tepees

Use for: Sliammon