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• Exhibition of Contemporary Hawaiian Art
• February 9 - June 29, 1997
• The first exhibit of contemporary native Hawaiian art to visit Canada, Maui: Turning Back the Sky features 50 works in media ranging from paintings and photography to sculpture to fiber art. The pieces evoke Hawaiian history, family geneologies, astonomy and the navigational technology of the Polynesian people.

• [Fall, 1996] - January 31, 1997
• Student exhibition: What do hockey, Vancouver’s Chinatown and the Canadian Pacific Railway have in common? They were among the many answers students in Anthropology 431 proposed to the question: “What is Canadian Cultural Property?” As their term project, they created a series of posters presenting their ideas. They invite you to come and give your own thoughts about Canadian cultural property in the comment books provided in the gallery.

• Summer 1996
• This summer, the museum is expanding its exhibit of jewellery in the Masterpiece Gallery to highlight the history of metalwork on the Northwest Coast. Included are early iron and simple twisted copper bracelets, as well as contemporary pieces by Mary Ann Barkhouse, Dale Campbell, Jim Hart, Russell Smith, Francis Williams, Lyle Wilson and Don Yeomans. The exhibit also includes a case devoted to the museum’s collection of gold and silver work by Robert Davidson, and another to the work of the late Kwakwaka’wakw artist Lloyd Wadhams.

• 1996

• April 1995

• April 13, 1995 – December 7, 1997

• May 2 - 31, 1995
• This exhibit brings together examples of little known Native American and Inuit maps, many of which have never before been reproduced. The maps document the extensive trade, social and political networks in which Native Americans lived and the historic events, cultural traditions, and spiritual beliefs that gave meaning to their landscapes.

• January - Summer, 1994 (Lower Lobby Wall)
• “Woman’s Work” is a ceramic wall of tiles exploring various patterns and symbolic motifs. Much like the tradition of quilting, the piece is made up of thirty-five 2’ x 2’ tiles forming a vibrant guilt of clay.

• March 29 - Summer, 1994
• This display gives MOA visitors a unique opportunity to see a work of art that represented British Columbia’s First Peoples at Expo 92 in Seville, Spain.

• September - November 1994
• These ceramic figurines portraying people and animals were placed in tombs to accompany the deceased to the afterworld. Some of these figurines have been in the museum’s collection since 1982, but were too fragile to be exhibited. They were recently conserved by the Canadian Conservation Institute in Ottawa, Ontario. The ceramics are gifts from Dr. Walter C. Koerner and from Mrs. Helen Heaney in memory of Helen Nordham Battle.

Use for: Faces on Ceramic Vessels

• 1993
• Student exhibition

Use for: Eye of the Beholder

• September 8, 1991
• Student exhibition

• May 18, 1993 - January, 1994 [Spring 1998 - August 1998] (Theatre Gallery)
• Student exhibition: Pam Windsor, Heiltsuk woman, curator and graduate student in anthropology, challenges stereotypes of First Nations working women, particularly in male-dominated industries like fishing and fish processing.

• April 6 - September 26, 1993 (Back of Gallery 5)
• In this exhibition, anthropology graduate student and curator, Charlene Garvey, explores identity and anonymity - whose names are recorded in relation to an object and whose names are lost. The exhibit examines why it is that MOA knows the identity of almost every collector who has donated Nuu-chah-nulth basketry to the museum, and yet the basket makers themselves remain largely unrecorded.

• February 28, 1993
• This is one of a series of displays that show the contemporary work of BC ceramic artists alongside historical examples of the same technologies from the Museum’s collection, particularly those in the new Koerner Ceramics Gallery.

• October 1, 1993 - February 27, 1994 (Gallery 10)
• This exhibit explores the importance of Mabel Stanley to her family and her community. It features her ceremonial regalia that signifies her Kwakwaka’wakw culture and status.

• April 6 - September 26, 1993
• By selecting examples from MOA’s collection of over 300 Nuu-chah-nulth baskets and illustrating how they were made, moved into private collections, and acquired by museums, the process by which objects are reinterpreted by both collectors and museum professionals is made visible. In this exhibit, curator Charlene Garvey critically examines changes in meaning that can occur over the life of a basket, and how these interpretations change over time to reflect beliefs about Native basketry, women’s arts and museological practices.

• 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.

• 1992-1993
• Student exhibition

• March 19 - September, 1992 (Research Collections)
• Student exhibition: MOA’s unique visible storage, which brings objects normally held in museum “basements” into public view, was created for independent study. This year students of Anthropology 431, Museum Principles and Methods, have produced eight experimental displays to explore a variety of questions with which museums such as MOA grapple - what to label the unknown, how to simplify the complex, and whether to exhibit the sacred.