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This subseries consists of photographs from the history of the Museum of Anthropology, including the original museum location in the basement of UBC Library through to the opening of the museum at its current location in 1976.
Subjects include:

• Activities of the B.C. Totem Pole Preservation Committee
• Totem pole restoration by Mungo Martin
• Early images of Totem Park, including the opening ceremony
• Raising of the Mungo Martin memorial pole in Alert Bay
• Visit to UBC by Governor General Vincent Massey
• Carving and construction of the Haida House by Bill Reid and Doug Cranmer
• Images of displays from the Museum of Anthropology's original location in the old library basement
• Exhibitions held at the Museum of Anthropology, especially through the 1950s and 1960s
• Images of Expo 1967 in Montréal
• The Museum of Anthropology's Northwest Coast exhibit for "Man and His World", held in Montréal
• Opening Exhibition of the Vancouver Centennial Museum, curated by the Museum of Anthropology
• Design plans, models, and inspirations for the new Museum of Anthropology building
• Images of the new Museum of Anthropology building at various stages of construction
• Moving totem poles from Totem Park to the new Museum of Anthropology building
• Packing objects in the old Museum of Anthropology location in the library basement
• Moving objects into the new Museum of Anthropology
• Official opening of the Museum of Anthropology's new location
• Visible storage and early exhibition in the Museum of Anthropology's new location
• Reassembly of the Haida House on the grounds of the new Museum of Anthropology building
• Activities and classes held at the Museum of Anthropology's new location

Includes files related to presentations that the Director gave for various purposes (teaching, conferences, museum, directorship). Includes final PowerPoint files as well as files involved with the development of the presentations.

Sub-series consists of records related to the exhibition "Amazonia: The Rights of Nature," which was on display at the Museum of Anthropology from March 10, 2017 - January 28, 2018. Porto was the curator for this exhibition.

The exhibition was described on the Museum of Anthropology's website as follows:

"Amazonia: The Rights of Nature explores the creative ideas that inspire Indigenous resistance to threats facing the world’s largest rainforest.

The exhibition features Amazonian basketry, textiles, carvings, feather works and ceramics both of everyday and of ceremonial use, representing Indigenous, Maroon and white settler communities. Today, these groups confront threats caused by political violence, mining, oil and gas exploration, industrial agriculture, forest fires and hydroelectric plants. Challenging visitors to examine their own notions towards holistic well-being, the exhibition covers more than 100 years of unsuspected relationships between Vancouver and Amazonian peoples, ideas and their struggles.

Amazonia departs from a social philosophy, known in Spanish as “buen vivir,” in which the concept of a good life proposes a holistic approach to development that intertwines notions of unity, equality, dignity, reciprocity, social and gender equality. The concept aligns directly with value systems intrinsic to Indigenous South American cultures, and serves as a rallying cry to move beyond Western ideals and practices of development and progress largely measured by profit.

The objects displayed in Amazonia have been exclusively assembled from MOA’s collection of acquisitions and donations. Included amongst the exhibition are items from Frank Burnett’s founding collection, donated to the University of British Columbia in 1927, ensuring the exhibition spans more than 100 years of exchange between Vancouver and Amazonian peoples.

Taking over MOA’s O’Brian Gallery, the exhibit’s items are primarily composed of simple, identifiable elements: vegetal fibers, wood, animal parts, clay or feathers. These uncomplicated components are transformed into extremely sophisticated and intricate textiles, basketry, ceramics, feather works and jewelry, displaying the knowledge and craftsmanship of some of the groups who reside in the region. Taken in its entirety, the exhibition promises to offer a revealing window into one of the world’s more culturally, socially and linguistically diverse regions, as well as a new framework for addressing some of the globe’s most pressing environmental challenges."

This subseries consists of records of the exhibit (In)visible: The Spiritual World of Taiwan through Contemporary Art/形(無)形-台灣當代藝術的靈性世界 (November 20, 2015 – April 3, 2016).

Records include copes of the (In)visible Museum Note, materials from the artists involved in the (In)visible exhibition, and their contractual agreements to participate in the exhibition, media about the exhibition (advertisements, articles, reviews), and internal MOA documentation on the exhibition development (planning, programming, proposals, budgets, object list, research materials).

The records are organized into the following files, according to Nakamura's original order when given to MOA Archives.
• The Museum Note, invitation, postcards
• The Museum Note (other versions)
• Artists agreements
• Taiwan
• Chiu Yu-wen
• Plannings and programs
• Walis Labai
• General proposals and scope
• Budgets
• Anli Genu
• Object list
• Li Jiun-Yang
• Yuma Taru
• Advertisements, articles and reviews
• Contemporary Art from Taiwan
• Contemporary Art from Taiwan August 2014

Subseries contains images of First Nations leaders: Chief Joe Mathias and Mary Hayes.

Consists of photographs, in the form of negatives, prints and slides, taken during the period that Jensen and Powell lived and worked in the Western Gitxsan villages. The images include photographs that were used to illustrate the language books being produced, and other photographs that documented the culture and way of living in these communities.

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.