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Subseries contains photographic slides of the exhibit <i>El Corazon Del Mundo : At the Heart of the World</i>. This exhibit was held at MOA from October 23, 2002 - March 30, 2003.

Subseries contains records directly related to the planning, development and execution of the Transforming Image exhibit at MOA. Planning for the exhibit began in 1983 when grants were obtained to begin research on Northwest Coast paintings. The exhibit itself occurred in 1993. The exhibit was the end result of research and development of a technique to view severely faded Northwest Coast First Nations paintings and painted objects through the use of infrared technology. Records include correspondence and information requests, public relations files, grant application information, budgeting information, papers, conferences and publications about the Transforming Image, files related to the publishing of the Transforming Image book and school interest in the exhibit.

Due to its large volume, The Transforming Image subseries has been broken down further into sub- subseries: Administration records; Research files; Book related; and Institutional photographs.

ref # 1-1-MMM-1

Subseries contains textual and photographic records of the Pakistan Pavilion at the 1986 World Expedition held in Vancouver, better known as Expo ‘86. McLennan contributed to the design, content and installation of this exhibit.

Subseries contains a note from McLennan to “Moya, Ruth and David” proposing a new direction for his contributions to the <i>MOA 50th Anniversary</i> exhibit held in gallery 3.

Subseries contains two photographs related to the Dress and Identity exhibit.

Subseries consists of records related to the <i>Signed Without Signature: Works by Charles and Isabella Edenshaw</i> exhibit curated by McLennan for MOA. In this exhibition, McLennan focused on showcasing Charles Edenshaw’s metalwork and painting, and Isabella Edenshaw’s basketry, to illustrate how each artist created a recognizable “signature” through art and not by physically signing their names, and how it evolved through their long careers. Records include research on the Edenshaws, exhibit photos, reviews, notes, correspondence, artifact loans, and files relating to individual museums and heritage institutions which hold Edenshaw artifacts.

Subseries consists of records relating to research on residential schools that led to the production of the exhibit Speaking to Memory: Images and Voices from St. Michael's Residential School, held at the Museum of Anthropology, UBC.

Subseries consists of photographs documenting various Sunday programs at the MOA and the children attending them. Programs include those for the visually impaired, related to visible storage, related to Japanese heritage and culture, the Punch and Judy show, Evelyn Roth’s giant salmon and others that are unidentified. Photographs were taken by McLennan, Jean Hamilton and Stephen Inglis.

ref # 1-2-A

Subseries consists of photographs and negatives documenting the Maori’s visit to MOA in 2004. The photographs are mostly taken in the Great Hall.

Subseries contains one file that consists of images showing the unveiling of the Canada Post stamp for the 50th anniversary of the MOA.

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 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 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 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 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 information provided by the Vancouver Organizing Committee for the 2010 Olympic Winter Games held in Vancouver regarding an Aboriginal Arts Program for the Olympics. The package includes background information about the program and application information for those wishing to apply.

Subseries consists of material created by Jacquie Gijssen and Karen Duffek, two MOA employees who were in charge of McLennan’s office while he was working on Expo ’86. During this time, they visited Robert Davidson at his studio in Semiahoo Village where he was carving three totem poles for the Pepsi Cola Sculpture Garden. Karen interviewed Robert about the work on two occasions and Jacquie photographed the work on the pole over the year of 1986. The series consists of interview notes by Karen and negatives and slides by Jacquie.

Subseries consists of the images used in the booklet titled Ninstints: Haida World Heritage Site by George F. MacDonald, as well as a copy of the booklet. In addition are photographs of the removal of totem poles and dismantling of houses at Anthony Island. These photographs were not taken by Bill McLennan but kept by him and used for research purposes.

This subseries contains images of the exhibit and textual panels from the exhibit as well as drafts of exhibit text and research materials.

Subseries contains images of people working in the Museum of Anthropology collections installing the exhibit On Stony Ground.