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Use for: Calvin Hunt Canoe; Tlingit Long tail Canoe

• October 5, 2009 - January 3, 2010
• Calvin Hunt’s 38 ft long tail canoe was on display at MOA from October 15-December 13, 2009. On Tuesday, February 2, 2010, the canoe was scheduled to carry the Olympic torch across the bay at Port Hardy. The torch was to arrive at the east side of Hardy Bay via BC Ferries, and then paddled across the waters to the Port Hardy Pier, and then followed a designated land route to the Civic Center for an evening of celebration.

• Through September 30, 1990 (Gallery 9)
• Student exhibition: Students of Anthropology 431, Museum Principles and Methods, have prepared a series of seven exhibits that explore the social, scientific and contextual interpretations of objects and artifacts found in museums.

• March 18 – November 4, 2018
• CURATORS: Jill Baird and Pam Brown, with representatives from Musqueam Cultural Education Centre, Squamish-Lil’wat Cultural Centre , Heiltsuk Cultural Education Centre, Nisg̱a’a Museum and Haida Gwaii Museum and Haida Heritage Centre at Kay Llnagaay.
• The Culture at the Centre exhibition offers insight into the important work Indigenous-run cultural centres and museums in British Columbia are doing to honour and support their culture, history and language. Five centres are showcased, representing six communities: Musqueam Cultural Education Centre (Musqueam), Squamish-Lil’wat Cultural Centre (Squamish, Lil’wat), Heiltsuk Cultural Education Centre (Heiltsuk), Nisg̱ a’a Museum (Nisg̱ a’a) and Haida Gwaii Museum and Haida Heritage Centre at Kay Llnagaay (Haida). Covering a wide geographic expanse, from what is now Vancouver to the Nass River valley, this is the first time that these communities have come together to collaborate on an exhibition and showcase their diverse cultures in one space. For visitors, it is an amazing opportunity to learn about the heritage work these centres are doing and to see traditional and contemporary objects from the communities. The exhibit is organized under three main themes: land and language, continuity and communities, and repatriation and reconciliation. Many British Columbians aren’t aware of the existence of First Nations cultural centres and museums or their impact on their communities. This exhibition opens a window into these five centres through dynamic displays of animated maps, Indigenous languages and rarely-seen items, like an ancient walrus skull and a 32-foot sturgeon harpoon. MOA hopes this is the first of many exhibitions of its kind.

• October 30, 1979 - February 3, 1980 (Gallery 5)

• January 25 - December 2015 (O’Brian Gallery)
• CURATORS Susan Rowley, Co-curator of the Museum of Anthropology, Jordan Wilson, Co-curator of the Museum of Anthropology
• The Museum of Anthropology, the Musqueam First Nation, and the Museum of Vancouver partner on a groundbreaking exploration of an ancient landscape and living culture in a series of exhibitions entitledc̓əsnaʔəm, the city before the city.
• People often think of Vancouver as a new city, when in fact this region has been occupied for nine thousand years. Located in the area now commonly known as the neighbourhood of Marpole in Vancouver, c̓əsnaʔəm was first occupied almost five thousand years ago and became one of the largest of the Musqueam people’s ancient village sites approximately two thousand years ago. Generations of families lived at what was then the mouth of the Fraser River, harvesting the rich resources of the delta. Over the past 125 years, archaeologists, collectors, and treasure hunters have mined the c̓əsnaʔəm village and burial ground for artifacts and ancestral remains. The land has been given various names since colonialism, including Great Fraser Midden, Eburne Midden, DhRs-1, and Marpole Midden – a name under which it would receive designation as a National Historic Site in 1933. Today, intersecting railway lines, roads, and bridges to Richmond and YVR Airport obscure the heart of Musqueam’s traditional territory, yet c̓əsnaʔəm’s importance to the Musqueam community remains undiminished. The exhibition at MOA focuses on Musqueam identity and worldview. It highlights language, oral history, and the community’s recent actions to protect c̓əsnaʔəm. Rich in multi-media, it demonstrates Musqueam’s continuous connection to their territory, despite the many changes to the land. Told from the first-person perspectives of Musqueam community members both past and present, it also seeks to replicate aspects of Musqueam ways of educating. c̓əsnaʔəm, the city before the city at MOA will leave the visitor with a different understanding of the deep history of what is now known as Metro Vancouver. The exhibition at the Musqueam Cultural Education Resource Centre & Gallery focuses on the sophistication of the Musqueam culture – past and present. It makes connections between the expertise of pre-contact knowledge-holders and contemporary professionals. The exhibition at the Museum of Vancouver draws connections between c̓əsnaʔəm artifacts, Indigenous ways of knowing, colonialism, heritage politics, cultural resilience, and contemporary Musqueam culture. It includes graphic and 3D modelling of maps and artifacts, original videography, family-friendly interactivity, and soundscapes blending traditional and modern sounds.

Use for: 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 1 - December 31, 1979
• Student exhibition

• April 1 - October 14, 1979
• Student exhibition

• February 17 - April 19, 1987 (Gallery 5)
• What is the MOA, a prehistoric beast or a contemporary museum? This exhibition designed for UBC Open House 1987 illustrates the Museum’s teaching and research role in the university and Vancouver communities.

• March 29 - Summer 1994
• An exhibit featuring paintings by 'Namgis artist Doug Cranmer. The works are from a series of experimental paintings Doug Cranmer produced in the mid-1970s.

Use for: Ceremonial box lids