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Sub-series consists of textual records including correspondence regarding and general research notes on totem poles, and specific research on the poles of Stanley Park and the artisans who worked on them. Records also include biographies on the artisans who carved the museum totem poles and correspondence and the agreement between the Museum of Anthropology and the Royal British Columbia Museum to remove totem poles from Kitwancool in 1958. Sub-series also contains slides of totem poles, three video tapes, one photograph and one cassette tape.

Subseries contains a timeline developed by McLennan regarding a collection of Northwest coast carvings, baskets, blankets and tools collected and received by the museum through a bequest from the late Tom and Frances Richardson in preparation for an exhibit.

Subseries contains records related to the <i>Tlingit Long-tail Canoe</i> exhibit held in Gallery 3 at MOA. The exhibit features a newly carved 38 foot Tlingit long-tail canoe created by Mr. Calvin Hunt to honour his great, great Tlingit grandmother, Anisalaga (nee Mary Ebbets). The exhibit ran from October 15 – December 13, 2009. Records include correspondence and proposals regarding the creation of the exhibit, photographs and photocopies of canoes and public relations materials promoting the exhibit.

Subseries contains images of robes and saddle.

Subseries consists of records relating to the <i>Through My Eyes</i> exhibit held at the Museum of Vancouver. The exhibit is a collaborative effort curated by 27 First Nations people of different Northwest Coast communities allowing them to “present their personal perspective” of their culture and its objects. McLennan was involved through managing the development, production and implementation of this collaborative effort. Records include photographs and slides of potential exhibit artifacts, media reviews, student paper reviews, exhibit project statements, transcripts of interviews done with First Nations artists, correspondence, consent forms for interviews and audio cassettes of the taped interviews which detail McLennan discussing various pieces of First Nations art with several artists.

Subseries contains images of objects and the exhibit.

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

Subseries consists of records relating to the exhibit, The Unity Quilt. Elizabeth Johnson was coordinator and co-curator with Ellen Antoine of the Indian Homemakers of BC. This exhibit focused on work made by participants in the Traditional Parenting Skills Program of the Indian Homemakers’ Association of B.C. Records include: correspondence, MOA exhibit proposal form (blank), exhibit labels, memos, notes, press release, photographs, negatives, slides, and participant statements.

This subseries contains images shown in the exhibit The Third Eye curated by Audrey Mackay Shane.

The records in this subseries relate to an exhibit that was developed by MOA in conjunction with the Tibetan Cultural Society, the Canada Tibet Committee, and Women Working for a Free Tibet. Subseries consists of 1 file of correspondence, memos and exhibit labels.

This exhibition introduces the aesthetics, spirituality, and principles of education related to the world of Islam, through example of Islamic art and calligraphy.

Subseries consists of records relating to the “Spirit of Islam: Experiencing Islam through Calligraphy” exhibit installed at the Museum of Anthropology. The exhibit is a collaborative work with local Muslim community members. The intent of the exhibition is to promote cultural diversity and to illustrate Islam as a way of life. The exhibition opened in October 2001, and continued until May 2002. In his capacity as Designer, Skooker Broome worked on the planning, designing, and installation of the exhibit. Not only did he work on the exhibit, he also participated in the launching of the “Spirit of Islam” educational website. Funded by the Department of Canadian Heritage, the website includes images, text, audio, and video from the original exhibition. Records in the subseries include: correspondence, contact lists, exhibition records, draft proposals and proposal, budgets, artifact lists, program planning worksheets, committee reports and drafts, agendas, grant applications, programming planning worksheets, minutes of meetings, loan condition and agreement forms, statements of agreements, exhibition diagrams and plans, exhibition design and art work, exhibit panel information and labeling designs, exhibit flyers and design layouts, photocopies of business cards and business cards, press releases, negatives, drafts of catalogue, notes, policy records, publications, exhibit sketches, letterhead samples, typeface samples, Islamic script samples, exhibition invitation cards, computer renderings of the exhibition layout and design, fundraising records, and product brochures and price lists. Textual records also include annotations on “Post-It Notes.” All records relate to aspects of planning, creating, or installing of the exhibit.

Subseries consists of records related to the graphic design for the Marvellous Real exhibit, on display at the Museum of Anthropology October 25, 2013 - March 30, 2014. The exhibit was curated by UBC Anthropology professor Nicola Levell.

Subseries contains images of objects in the exhibit <i>The Legacy: Continuing Traditions of Northwest Coast Indian Art.</i> This exhibit was held November 25, 1981 - August 31, 1982. In addition are photographs of the exhibit opening.