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• June 22, 2004 – January 30, 2005 (Gallery 5)
• The Abstract Edge will bring together thirty works by Davidson with five 19th century Northwest Coast artefacts. Many of the contemporary works belong to Davidson and are being created specially for this exhibition; some will be borrowed from public and private collections. The contemporary works will include paintings on a variety of materials, sculptural works and sketchbooks. The historical objects will be drawn from the Museum and other collections.

• April 20 - September 15, 2013 (The Audain & O’Brian Galleries)
• See more, hear more & read more about the artists and artworks in the exhibition using the Safar/Voyage web app: safar.moa.ubc.ca Safar/Voyage is the first major exhibition of contemporary art from these regions to be shown in Vancouver. It is constructed as a journey in the company of 16 artists, each of whom is neither fixed inside the territories of the Middle East nor permanently diasporic. These artists define themselves and the world according to their own creative representations, often informed by culturally specific conditions. Wrapping the globe, their diverse artworks speak to the universal theme of voyage (a translation of the Persian safar), from the external and geographical to the internal, emotional, and existential. They acknowledge the realities of political turmoil and revolution, and how politics frames both trauma and desire, whether individual or collective. Voyage is seen to take many forms. Expressed in media ranging from painting, sculpture, and video installation to performance and a carpet, it is as innocuous as tourism (with a twist), as disturbing as war—the violent crossing of borders—and as philosophical as the transience of life. The artists of Safar/Voyage are positioned as our guides, their visions mined for reflections on some of the most urgent issues of our time. The artists featured are Adel Abidin, Tarek Al-Ghoussein, Nazgol Ansarinia, Kutlug Ataman, Ayman Baalbaki, Ali Banisadr, Taysir Batniji, Mona Hatoum, Susan Hefuna, Raafat Ishak, Y.Z. Kami, Farhad Moshiri, Youssef Nabil, Hamed Sahihi, Mitra Tabrizian, and Parviz Tanavoli. The exhibition is curated by Dr. Fereshteh Daftari, former curator at the Museum of Modern Art, New York. MOA Coordinating Curator Dr. Jill Baird, Curator, Education & Public Programs. The exhibit will be accompanied by a publication.The exhibition features a wide range of public programs including curator and artist talks, musical performances, as well as the Hassan and Nezhat Khosrowshahi Distinguished Lecture Series featuring talks by noted architects and scholars Nader Ardalan, Daniel Roehr, Hossein Amanat, and Abbas Amanat. Safar/Voyage is made possible through the generous support of: Presenting Sponsor: Deloitte; Publication Sponsor: UBS Bank (Canada); Lead Media Sponsors: CBC & The Vancouver Sun; Other Sponsors: Wesbild Holdings, Canvas Magazine, Chubb Insurance Company of Canada, HUB International Insurance Brokers, The Canada Council for the Arts, SDV Logistiques (Canada) Inc., Lamar Transit Advertising, the Consulat général de France à Vancouver, and Robert McInnis.
• We would also like to thank the Safar/Voyage Exhibition Volunteer Committee for their exceptional work to make this exhibition possible: Mrs. Nezhat Khosrowshahi, Chair; Mrs. Rosalie Stronck, Vice Chair; Mrs. Maymanat Bakhtiar; Mr. Hank Bull; Mrs. Fiona Entwistle; Mrs. Yulanda Faris; Mrs. Shawne MacIntyre; Mrs. Marjan Navabi; Mr. Sohrab Saeb; Mr. Parviz Tanavoli; and Mrs. Lisa Turner.

Use for: Visions of Power, Symbols of Wealth: Central Coast Salish Sculpture and Engraving

• October 21, 1980 - April 5, 1981 (Gallery 5)
• Salish Art Exhibit Guided Orientations October 26 and November 2, 2:30 pm. Professor Michael Kew, guest curator of this exhibit will conduct the tours. Free with Museum admission.

• [19-?]

• October 27, 1982 – June 5, 1983 (Gallery 5)

• November 24, 1987 - February 28, 1988 (Gallery 9)
• An exhibition of patchwork and embroidery wall hangings - traditional folk art that became a form of protest against the harsh conditions of life for Chile’s poor. The project was made possible through the support of the Salt Spring Island Voice of Women.

• 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.

• December 2, 2018 – Fall 2019
• CURATORS: Jill Baird and Jennifer Kramer
• Earthquakes have long been a part of the reality of living along the Northwest Coast. At MOA, preparation for this reality is a priority of monumental proportions as the Museum’s iconic Great Hall undergoes major seismic upgrades to help preserve the building, the collections and cultural heritage. In conjunction with this immense undertaking, MOA’s exhibition, Shake Up: Preserving What We Value, explores the convergence of earthquake science and technology with the rich Indigenous knowledge and oral history of the living cultures represented in MOA’s Northwest Coast collection. Beyond scientific discoveries, Shake Up also puts into the foreground traditional knowledge of earthquakes and natural disasters that has been passed down through generations throughout many cultures. Through multimedia installations, contemporary First Nations art and cultural objects, Shake Up explores the connection between cultural knowledge and natural seismic events. Bringing together the perspectives of cultures, arts and sciences, this exhibition reflects on what we value and how we preserve it. The exhibition will be displayed in areas throughout the Museum, and visitors will have the opportunity to see the majestic poles of the Great Hall undergo important conservation work while they are temporarily stored in the adjacent O’Brian Gallery. Shake Up: Preserving What We Value is the first of two exhibitions at MOA to explore the theme of natural disasters and their implications. A Future for Memory: In the Aftermath of the 3/11 Disaster, curated by MOA’s Curator of Asia, Fuyubi Nakamura, is slated to open in early 2020. Based on research from the past seven years, its focus will be on changing physical and psychological landscapes in the aftermath of 2011 earthquake in Japan, and consider its local and global resonances.

• 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.

• 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.

• May 8, 1982 - January 2, 1983 (Theatre Gallery)

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

• March 11 - May 11, 1980

• May 2 - September 30, 2000 (Gallery 5)
• This is a travelling exhibition organized by the Glenbow Museum, Calgary. Featured are twenty-eight masterworks by Ojibway artist Norval Morrisseau.

• July 22, 1983 - April 8, 1984 (Gallery 5)

• April 1 - December 31, 1979
• Student exhibition

• November 19, 2017 – April 15, 2018
• CURATOR: Sue Rowley
• For generations Salish peoples have been harvesting the resources of their territories, transforming them into robes of rare beauty and power. Symbols of identity they acted as legal documents and were visible signifiers of the presence of knowledge holders and respected people. Now mostly stored away in museums these masterworks are rarely seen. They have much knowledge to share and many stories to tell. Musqueam asked the Museum to bring these weavings to inspire weavers and share part of this rich legacy with all of us. Salish weavers selected ten blankets from the 1800s to be part of this unique exhibition. Returning from Finland, Scotland, England and the eastern United States this is the first time that these blankets have been seen in Vancouver. This is a once-in-a-lifetime opportunity to see the unique design of Salish blankets up close and to learn the rich history and significance of weaving in this region. The exhibition takes you on a journey through the past two hundred years of Salish weaving from the early 1800s through to today’s vibrant renaissance. Presented by Musqueam, MOA and a community of Salish weavers.

• April 2 - November 8, 1987
• Student exhibition: Exploring representations of Hindu divinity in Indian sculpture, bronzes and posters. A student exhibition designed by participants in the Anthropology course Museum Principles and Methods.

• November 24, 1981 - August 31, 1982 (Theatre Gallery)
• A travelling exhibit from the British Columbia Provincial Museum.