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Sub-series consists of photographic prints and photocopies collected from other institutions for use on object labels in MOA's Great Hall. Items were originally housed in two large binders with dividers.

Subseries contains mainly digital files with some accompanying textual records of records which mostly pertain to ideas that McLennan had for books he wanted to write. In some cases an actual book was created and published, and in other cases a book was printed (not published) to show perspective donors. Potential book subjects are listed as follows: argillite, Charles Edenshaw [file contains an assemblage of digital images that could be used in a publication], Edenshaw exhibit [file contains records related to the Edenshaw exhibit “Signed Without Signature”], Explorers [notes for the beginning of an idea for a book], Gisaxstala, MOA books [these books were made as talking pieces to show prospective sponsors of gallery space what could be done in the galleries, and what had not yet been done], Port Essington, Raven Rattle, Seeing, Thinking, Serenipitous Assembly, Site Specific, Weavers Workshop. Other subjects included in this subseries pertain to book ideas or contacts who would have been interested in sponsoring book including Elspeth McConnell and Michael Audain.

Subseries contains binders of copies of images that McLennan has ordered, and some cases paid for, from other institutions, in addition to some that he has taken himself. He has arranged them in binders according to culture. He created these binders as an easy reference system for faculty, students, community members, and artists to use when identifying and comparing cultural artistic styles, and traditional customs. First Nations included in the culture photographs include: Tsimshian, Haisla, Kwakwaka’wakw, Northern First Nations, Ktunaxa, Kinbasket, Okanagan, Salish, Tlingit, Tahltan, Tsilhqot’in, Secwepemc, Stl’atl’lmx, Nlaka’pamux, Heiltsuk, Nuxalk, Oweekeno, Gitxsan, Haida, Nuu-chah-nulth and Nisga’a. A file also pertains to differentiating between different styles of canoes.

Subseries contains largely photographs of artworks of Northwest Coast First Nations artists located at various cultural heritage institutions as well as in private collections. The majority of the information within the files was collected by McLennan for research purposes, and includes textual documentation about the lives of the artists, correspondence with the artists, information about exhibits based on the artists’ work and newspaper clippings and other stories about the personal life of the artists.

Subseries contains resources acquired by McLennan due largely in his research interest in Northwest coast art and design. The series consists largely of photographs taken by McLennan during his travels to museums and archival institutions of artifacts. There are also collections of photographs acquired by McLennan from archival institutions which he had copied. Correspondence between professionals at museums and archives is also sometimes located within the file with the photographs. The museums and archives which have files in this subseries are geographically very diverse. As a note of interest, some objects were taken out especially for McLennan, when access to them by the general public would not normally be granted.

This subseries contains records relating to an exhibit built at the Canadian Museum of Civilization. McLennan was the project manager and design developer for this project. He oversaw the completion and installation of six west coast First Nation house designs: Coast Salish, Haida, Tsimshian, Bella Coola, Oweekeno, and Kwakwaka'wakw. The records include newspaper clippings, correspondence, photographs, and notes.

Subseries contains four files consisting of background information, meeting minutes and correspondence, research on other cultural centres, and reports. McLennan’s role in this project was to consult with community members to help them identify their needs in order to properly house their cultural heritage.

Subseries consists of several files documenting a number of projects McLennan was part of at the Vancouver International Airport (YVR) over several years. Files include publicity, correspondence, artists’ statements, photographs, artists’ renderings, the YVR Art Foundation and designs for YVR regarding the creation and installation of Northwest Coast art at the International Airport. Art pieces specifically mentioned include Bill Reid’s The Spirit of Haida Gwaii, the Jade Canoe, Susan Point’s Flight Spindle Whorl and Richard Hunt, Dempsey Bob and Robert Davidson’s pieces for the Supernatural World.

Subseries consists of correspondence, meeting minutes, photographs and documentation regarding the totem pole that was carved for UBC by Ellen Neel in 1948, its subsequent deterioration and mishandling, and the committee formed to resurrect a new pole carved by Calvin Hunt. Bill McLennan sat on the committee that was struck to handle the installation of the new pole.

Subseries contains one file consisting of correspondence, draft manuscript pages, and photographs relating to the ‘Marie Mauze Project’. This project involved the Kwakiutl Museum (now named the Nuymbalees Cultural Centre) and pieces from their collection that had been returned to them after the ban on potlatches had been lifted. The project was designed in order to create a book, however, the book was never published.

Subseries contains of one file consisting of images of two argillite sculptures at the MOA, UBC. These images were taken by McLennan while working with a student on a project related to masking the scale of the object. McLennan called it “Unravelling Scalability.”

Subseries contains one file consisting of correspondence, budget reports, drawings of the cabinetry, and label designs. McLennan worked closely on this project as liaison to Bill Reid while the cases were being constructed to house Reid's jewelry pieces.

Subseries consists of images that were selected by McLennan from Bill Holm Northwest Coast videodisk. Video disks were played in the museum. A copy of the original video disk that images are from is available in David Cunningham fonds (MOA Video 252).

Subseries consists of the image used on the cover of the cookbook created by the Volunteer Assistants.

Subseries contains one file of photographs taken by Edward Malin for the Quatsino source book. Additional material includes an inventory of all slides used in the sourcebooks.

Subseries consists of research McLennan did regarding 3D scanning technology and its use in a museum setting. Records include photographs, 3D stereoscope cards, STS scanning technology information, UBC published materials on McLennan’s research and correspondence.

Subseries consists of photographs and textual records relating to and documenting the reconstruction of the roof and exterior of the Haida House at the MOA. Photographs depict the exterior of the Haida House pre-reconstruction as well as the surrounding totem poles. The accompanying textual records document proposals for the reconstruction, correspondence regarding materials, construction, financial documentation including proposed budgets and grant applications, and a UBC MOA Haida House Upgrade Proposal Report.

Series contains slides of banners created for the City of Vancouver by McLennan.

One copy of booklet that contains photographs taken by Bill McLennan. The book was donated by it's author, Laurence A.G. Moss. Moss was a visiting curatorial fellow at MOA (under Marjorie Halpin) in the mid-1980s. During that time, Bill assisted Moss in taking photographs that ended up in this book and associated exhibition.

Teh full title of the book is Art of Lesser Sunda Islands: A Cultural Resource at Risk. The book contains 13 photographs by McLennan