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• March 15, 2000 - January 14, 2001 (throughout the galleries)
• This exhibition presents fourteen site-specific works in diverse media (sculpture, mixed media, photography, painting, and textiles) by five contemporary Northwest Coast artists: Mary Anne Barkhouse (Kwakwaka’wakw) Connie ‘Bear’ (Sterritt) Watts, (Nuu-chah-nulth, Gitxsan, Kwakwaka’wakw), Winidi/John Powell (Kwakwaka’wakw), Larry McNeil (Nisga’a), and Marianne Nicolson (Kwakwaka’wakw).

• 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.

• February 22, 2004, remained open through 2004 (Corridor Case – opposite the Rotunda)
• In 1995, UBC graduate student Michelle Willard spent four months in West Africa as a volunteer with Canada World Youth. During a return trip in 2001, Willard, with the support and advice of Ghanaian people both there and in Vancouver, developed a collection of printed cloths that the Ghanaians consider to be highly significant. Her exhibit, opening during Black History Month, shows how these cloths are worn in Ghana to proclaim political loyalties and commemorate important events.

• April 8, 2004 - August 1, 2005
• Student exhibition: Students of Anthropology 431 are developing an exhibition of photographs that examine why we create sacred places and spaces in our urban environment. They identify locations that might be permanent or transitory, formal or informal, public or private, real or imagined, built or natural.

• March 8 - September 30, 2009
• The contemporary significance of Samoan tattoo traditions is the focus of an insightful and provocative exhibit entitled “TATAU: Samoan Tattooing and Global Culture,” is now on display in Gallery 3 (adjacent to the Great Hall) in March. Curated by Peter Brunt, Senior Lecturer in Art History at Victoria University of Wellington, the show features over 40 photographs by distinguished New Zealand artist Mark Adams. Thanks to the Adam Art Gallery, Victoria University of Wellington, and Cambridge Museum of Archaeology and Anthropology, University of Cambridge, for organizing this touring exhibition.

• July 14 - September 15, 2012 (Satellite Gallery)
• The Kwakwaka’wakw artist Henry Speck, or Udzi’stalis (1908 – 1971), became a “newly discovered phenomenon” in 1964 when his paintings of masked dancers, coastal creatures, and sea monsters were shown at Vancouver’s New Design Gallery. Chief Speck, from Turnour Island, British Columbia, was a community leader, teacher, and cultural practitioner. By the 1930s he was also becoming known for his modern paintings, rendered in vibrant colours and textures. His work caught the attention of the Austrian artist and theorist, Wolfgang Paalen, and was declared by the Haida artist Bill Reid to be “far beyond anything attempted before in Kwakiutl art.” Experience Henry Speck’s paintings through originals and large-scale projections that refigure his work against a backstory of media images, sound, and film—an installation that evokes the changing contexts of the mythic and the modern in the 20th century. This exhibition is made possible with support from the Michael O’Brian Family Foundation, and is organized by the UBC Museum of Anthropology and Satellite Gallery. The exhibition was curated by Karen Duffek, MOA Curator of Contemporary Visual Arts & Pacific Northwest; and Marcia Crosby, writer, scholar, and PhD candidate, UBC Department of Art History, Visual Art, and Theory. Media by Skooker Broome, Manager, Design/Production, MOA.

• September 18, 2013 - May 11, 2014 (The O'Brian Gallery)
• Speaking to Memory: Images and Voices from St. Michael's Residential School grew out of a unique opportunity to present the personal experiences of First Nations children who attended St. Michael's Indian Residential School at Alert Bay, British Columbia. During the late 1930s, one student at the school had a camera and photographed many of her friends and classmates there. She recently donated these images to the Museum of Anthropology’s archive. The photos provide a rare and moving glimpse of residential school life through the eyes of students as they made a life for themselves away from families and home communities. St. Michael’s Indian Residential School operated from 1929 to 1974, and its now-empty building is in deteriorating condition. With the support of the U'mista Cultural Centre (UCC) and the 'Namgis First Nation at Alert Bay, MOA curator Bill McLennan was permitted to enter the building and photograph its interior spaces where the children had lived and worked. The resulting images, together with those of the students, are featured in Speaking to Memory, an exhibition jointly produced by McLennan and the UCC’s director Sarah Holland and curator Juanita Johnston. In Alert Bay, Speaking to Memory hangs around the exterior of the St. Michael’s school building, located beside the cultural centre. At MOA, the exhibition is presented in our O’Brian Gallery. The large photographic panels depict the interior rooms of the school as they now appear, overlaid with historical images of the children. Accompanying the images are personal statements from former students of St. Michael's school, recalling their experiences there. Quotations from a variety of sources express the Canadian government's rationale for Indian residential schools, while excerpts from the 1996 Report of the Royal Commission on Aboriginal Peoples recognize the devastating impact of the schools. In addition, one "artifact" is featured in MOA’s exhibit: the institutional food-mixing machine, recently salvaged from the school’s kitchen. The Indian residential school system was implemented in 1879 by the Canadian government to eliminate the "Indian problem"—that is, to absorb the Aboriginal population into the dominant Canadian identity, and to impose Christianity, English or French as the primary languages, and the abandonment of cultural and family traditions. St. Michael's Indian Residential School in Alert Bay was one of 140 Indian residential schools that operated in Canada.

• November 20, 2015 – April 3, 2016.
• CURATOR: Dr. Fuyubi Nakamura, MOA Curator, Asia
• Against a backdrop of skyscrapers and mountains, ghosts and spirits haunt the island of Taiwan. Deities reside in a variety of shrines and temples or forms of natural phenomena across the island. Known for its democracy, contemporary Taiwan embraces different, often hybrid, beliefs expressed and practiced in myriad fashion. Taiwan’s urban and rural life cycles are filled with rituals and ceremonies of various faiths ranging from Buddhism, Daoism and Confucianism to Christianity, Chinese folk religions and animistic beliefs of Taiwan’s Aboriginal peoples. While religion affects, challenges and intermingles with the secular world, myths, legends and fairytales add other layers to the spiritual world of Taiwan. Taiwan is home to sixteen officially recognized Aboriginal groups of Austronesian peoples and Han Chinese of various backgrounds as well as other long-term settlers and recent immigrants. Throughout its history, outside forces—Chinese, Portuguese, Dutch, Spanish, and Japanese—have taken a turn to ‘discover’, settle in or occupy Taiwan. They introduced or forced different religions or brought myths and legends to the island with them. As with other East Asian countries, it is common to blend different religious practices in Taiwan. The spiritual world is very much part of life and has also been the source for creative inspiration in Taiwan. (In)visible: The Spiritual World of Taiwan Through Contemporary Art explores how traditional and religious beliefs and modern values are integrated in this vibrant country. The exhibition features works by seven contemporary Taiwanese artists, who express and visualize religious beliefs, myths and the spiritual world with modern sensitivities

• November 17, 2016 - April 19, 2017.
• CURATOR: Jennifer Kramer
• From birth to death, humans are wrapped in cloth worn for survival, but more importantly, wear clothing as an external expression of their spiritual belief system, social status and political identity. This stunning exhibition will explore clothing’s inherent evidence of human ingenuity, creativity and skill, drawing from MOA’s textile collection — the largest collection in Western Canada — to display a global range of materials, production techniques and adornments across different cultures and time frames. Curated by Dr. Jennifer Kramer (MOA Curator, Pacific Northwest), Layers of Influence will entrance MOA visitors with large swaths of intricate textiles often worn to enhance the wearer’s prestige, power and spiritual connection, including Japanese kimonos, Indian saris, Indonesian sarongs, West African adinkra, adire and kente cloth, South Pacific barkcloth, Chinese Qing dynasty robes, Indigenous Northwest coast blankets, Maori feather cloaks and more. A sumptuous feast for the eyes, the exhibition is an aesthetic and affective examination of humanity’s multifaceted and complex history with cloth and its ability to amplify the social, political and spiritual influence of the wearer as a functional expression of self-identity.

• May 10 - October 16, 2016
• CURATORS: Karen Duffek (MOA Curator, Contemporary Visual Arts & Pacific Northwest) and Tania Willard (artist and independent curator, Secwepemc Nation)
• Vancouver artist Lawrence Paul Yuxweluptun, of Coast Salish and Okanagan descent, is showcased in this provocative exhibition of works that confront the colonialist suppression of First Nations peoples and the ongoing struggle for Indigenous rights to lands, resources, and sovereignty. Twenty years since his last major Canadian solo show, Unceded Territories will demonstrate the progression of Yuxweluptun’s artistry and ideas through hard-hitting, polemical, but also playful artworks that span his remarkable 30- year career, featuring a selection of brand-new works exhibited publicly for the first time. Co-curated by Karen Duffek (MOA Curator, Contemporary Visual Arts & Pacific Northwest) and Tania Willard (artist and independent curator, Secwepemc Nation), Unceded Territories promises colour and controversy through this display of over 60 of Yuxweluptun’s most significant paintings, drawings, and works in other media – a critical and impassioned melding of modernism, history, and Indigenous perspectives that records what the artist feels are the major issues facing Indigenous people today. This exhibition will undoubtedly fuel dialogue, indignation, and even spiritual awareness as it tackles land rights, environmental destruction, and changing ideas about what we can expect of Indigenous art from the Northwest Coast. The issues Yuxweluptun addresses are impossible to ignore.

• 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.

• 1963

• May 16, 2019 – October 14, 2019
• CURATOR: Nicola Levell (Associate Professor, Anthropology, UBC)
• Over 250 puppets, old and new, from 15 countries, are illuminated in MOA’s dramatic new exhibition. These exquisite puppets—sometimes charming, sometimes a little bit scary, and always entertaining—come together and reveal our enduring fascination with storytelling. For thousands of years, knowledge holders and storytellers around the world have engaged puppets as a means to dramatize the human experience. Puppets have been delighting, entertaining and educating audiences of all ages, letting our imaginations soar. Puppets are the precious purveyors of our epics, dreams and satires. Enter into a theatrical world of kings and queens, demons and clowns, supernatural beings and more. Extraordinary stories and fantastical characters fill the stages, cases and multimedia installations of this enchanting exhibition. Whether animated using age- old techniques or digital technologies, puppets are manipulated by hand, and here you’ll discover more about the different forms of manipulation and animation that give them life: shadow, string, rod, hand, and stop-motion. With a focus on Asia, Europe and the Americas, the exhibition draws from MOA’s stunning international collection of puppets—the largest in Western Canada-—and reveals new acquisitions from China, Brazil, Sicily, Java, the UK and France. Shadows, Strings and Other Things is an immersive experience that illuminates how puppetry continues to evolve and innovate in the hands of artists and performers who keep the tradition alive. From graceful Vietnamese water puppets and comical British hand puppets to the captivating stop-motion puppet animation of the award-winning Indigenous artist Amanda Strong—the full spectrum of human resilience and creativity is on display.

• September 17 – October 1, 1977 Museum of Northern British Columbia, Prince Rupert
• November 1 – January 31, 1978, Museum of Anthropology.
• An exhibit of the works of Norman Tait, who is a contemporary Nishga artist.

• March 2003
• Student exhibition: Based on a memorial for Maggie Pointe of the Musqueam Nation, the exhibit includes a contemporary 14-foot West Coast style canoe and its contents donated by Shane Pointe and Gina Grant. This is the first exhibition curated at MOA by UBC’s Critical Curatorial Studies graduate students.

Usar para: Anspayaxw: An Installation For Voice, Image, and Sound

• September 12 – October 26, 2013
• CURATOR: Karen Duffek, Curator of Contemporary Visual Arts & Pacific Northwest Satellite Gallery
• Anspayaxw: an installation for voice, image, and sound is an immersive sound-and-photographic installation for twelve channels of audio diffusion, created in 2010 by Canadian artist John Wynne in collaboration with photographer Denise Hawrysio, linguist Tyler Peterson, and members of the Indigenous Gitxsan community at Anspayaxw (Kispiox, British Columbia).

• 1988 - ?

• August 4 - October 18, 1987 (Theatre Gallery)
• A contemporary Cree artist from Edmonton expresses visions and supernatural images encountered in her sweatlodge experience.

• April 1 - December 31, 1979
• Student exhibition

• April 1 - October 14, 1979
• Student exhibition