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• February 3 - April 12, 1998
• In this exhibit, MOA showcases works from its collection of over 300 Northwest Coast prints by such artists as Joe David (Nuu-chah-nulth), Robert Davidson (Haida), Freda Diesing (Haida), Walter Harris (Gitksan), Tony Hunt (Kwakwaka’wakw), Susan Point (Musqueam), and Roy Henry Vickers (Tsimshian).

• 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.

• April 14 to mid May, 2000
• This is a special exhibit of works by students attending Emily Carr Institute of Art and Design. Each student was challenged to create a piece of work that is uniquely theirs, and yet consciously informed by echoes of historical techniques and ideas. The exhibit is jointly organized by MOA and Emily Carr Institute.

• 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.

• April 17, 2001 - December 31, 2002 (Gallery 3)
• Coast Salish baskets. Prepared by UBC Anthropology MA candidate Sharon Fortney, in collaboration with Museum staff and representatives from the Squamish, Klahoose, Stl’atl’imx, and Nlaka’pamux First Nations, this exhibit focuses on the evolution of Coast Salish basketry over the past fifty years. Text and photographs help visitors understand the social context from which these objects have emerged, and the meanings embedded in the objects themselves.

Usar para: The Art Goes Back to the Stories

• October 9, 2001 - December 2002 (Theatre Gallery)
• This exhibition of the work of well-known Tahltan-Tlingit artist Dempsey Bob, consists of fourteen panels of text and photographs, as well as three of his most recent bronze sculptures. Produced by Dempsey’s daughter, Tanya Bob.

• April 10, 2001 - May 13, 2001 (Lobby)
• As part of their coursework at the Emily Carr Institute of Art and Design, students in MOA Curator Dr. Carol Mayer’s ceramics class are creating and installing original works inspired by the Museum’s collections.

• Through May 13, 2001 (Lobby)
• As part of their “Topics in World Ceramics” course at the Emily Carr Institute of Art and Design, students in MOA curator Dr. Carol Mayer’s class have created and installed original ceramic pieces themed to words they chose to describe themselves. In this unusual display, the words “Extreme,” “Sensitive,” “Articulate,” “Determined,” and “Creative” describe not only the students’ sense of self, but also the works they have created.

• Through August 31, 2001 (corridor)
• Two cases, each highlighting a different aspect 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.

Usar para: Respect to Bill Reid Pole

• On June 21, 2002, National Aboriginal Day, the Museum launched a virtual exhibition developed to document the carving and raising of “The Tribute to Bill Reid Pole” by Jim Hart, which took place at MOA on October 1, 2000. In July 2002, the Respect to Bill Reid Pole virtual exhibit was nominated by the Virtual Museum of Canada for an award of excellence. http://www.virtualmuseum.ca/sgc-cms/expositions-exhibitions/bill_reid/english/index.html
• Ongoing, www.moa.ubc.ca

• April 4, 2002 - March 31, 2003 (Visible Storage)
• Student exhibition: Each year students in Anthropology 432 (Anthropology of Public Representation) create exhibits as part of their coursework. On April 4, 2002, the students opened their exhibition Viewpoints in the Visible Storage area. The exhibit is based on the fact that visitors experience Visible Storage from many different points of view that may be related to factors such as their age, gender, or culture.

• Opened June 21, 2003
• Online exhibition also made: https://epe.lac-bac.gc.ca/100/205/301/ic/cdc/musqueam/index.html

• 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.

• 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.

• March 3 - September 30, 2009 (Lobby)
• This magnificent panel by Coast Salish artist John Marston was accompanied by excerpts from “Killer Whale and Crocodile,” a documentary about John’s journey to Papua New Guinea, where he met and was inspired by Sepik carver Teddy Balangu to carve this work. Curatorial liaison Carol Mayer, Curator, Africa/Pacific.

• (after The Raven and the First Men by Bill Reid, 1980)
• March 12 - December 31, 2010 (on patio adjacent to Bill Reid Rotunda)
• Nicholas Galanin (b. 1979) is an artist of Tlingit ancestry who lives and works in Sitka, Alaska. Trained through apprenticeship and formal study in wood carving, metalwork, and tool making, he uses a range of media, including sculpture and video, to expand his own practice and investigate how “Northwest Coast art” is situated in relation to cultural values, contemporary issues, and global art worlds. His new work, Raven and the First Immigrant, is on display on the patio just outside the Bill Reid Rotunda, directly facing Reid's iconic sculpture, The Raven and the First Men.

• From the exhibition, Jamelie Hassan: At the Far Edge of Words, at the Morris and Helen Belkin Art Gallery
• June 18 – August 22, 2010 (Multiversity Galleries)
• Vitrine 448, a 'book work' created by renowned Canadian artist Jamelie Hassan in 1988, was shown at MOA as part of an exhibition organized by the UBC Morris and Helen Belkin Art Gallery. Curatorial liaison: Karen Duffek.

• 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.

• November 27, 2010 - January 23, 2011 (Satellite Gallery)
• No Windows, on view at Satellite Gallery from November 27, 2010 to January 23, 2011, is the result of a unique collaboration between the departments of Anthropology, Art History and Curatorial Studies at the University of British Columbia, as graduate students in each of these programs have joined forces to curate this new and exciting exhibition. No Windows presents artworks by local and national artists Rhonda Weppler + Trevor Mahovsky, Adad Hannah, Jamie Drouin, and Zoe Tissandier. In their work, the artists explore the structures that underlie gallery and museum practices, and challenge visitors' ideas about them as agents in the creation, mediation, and reception of art.