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This subseries contains images shown in the exhibit <i>Anonymous Beauty</i> curated by Miriam Clavir. This exhibit was on the Japanese handmade paper collection housed at MOA. In addition are 4 transparencies of the exhibit text.

Subseries contains images mostly taken by McLennan that show the Bill Reid pole which sat outside the Museum of Anthropology at UBC being taken down and moved inside the museum because it was no longer stable due to weathering. This spurred a project funded with a Canada Council grant to then create a new pole to put up in its place. This pole was carved by Jim Hart and called the Respect to Bill Reid pole.

Subseries contains slides of the Pasifika: Island Journeys exhibition, held at MOA from June 21, 2004 - May 9, 2004.

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 contains an image showing prints of Bill Reid's work hanging in a theater.

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

This suberies contains correspondence between McLennan and organizers of the Boundaries in the Art of the Northwest Coast of America conference. In addition are draft copies of McLennan's presentation.

Subseries consists of photographic slides of the Where are the Children? Healing the Legacy exhibition held from June to December of 2002.

Subseries consists of a program and information related to a basket weaving exhibit held at the Bellevue Arts Museum called American Indian Baskets: Trees, Reeds and Grasses.

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.

Subseries consists of several annotated copies of McLennan’s “Beneath the Patina: using technology to expand the study of Northwest Coast painting” for the Otsego Institute for Native American Art History conference held in Cooperstown, New York, from August 7-9, 1998. Subseries also includes correspondence between McLennan and conference organizers, and photograph permission requests.

Subseries contains two files containing records related to the exhibit about the artist Jane Ash Poitras.

Subseries consists of images of the Benetton student exhibit.

This subseries consists of images showing objects from the MOA on display at the president of the University of British Columbia’s house, and one textual record listing the labels for these objects.

Subseries contains images of textiles used in the exhibit <i>Ancient Cloth...Ancient Code?</i>.

Subseries contains the booklet produced as part of the Museum Notes program at the Museum of Anthropology titled Bill Reid: Beyond the Essential Form written by Karen Duffek.

Subseries contains three files consisting of records related to the Bill Reid symposium which was titled “The Legacy of Bill Reid: A Critical Enquiry”. The records comprise planning of the symposium, research done after the symposium on related topics, and McLennan’s presentation.

Subseries consists of images of the Blood from a Stone exhibit.

Photographs show Jill Baird standing with two youth from the Musqueam First Nation standing next to a weaving exhibit.

Subseries contains images of masks and of the opening ceremony.