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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.

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 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 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 consists of images used in the booklet Jack Shadbolt and the Coastal Indian Image written by Marjorie M. Halpin as well as a copy of the booklet. In addition are photographs of Jack Shadbolt.

Subseries consists of two files. File 1 contains a booklet titled A Guide to Buying Contemporary Northwest Coast Indian Arts by Karen Duffek. This booklet was created as part of the Museum Notes program at the Museum of Anthropology. McLennan is credited for the design of the booklet. File 2 contains oversized prints used in the booklet.

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

Subseries consists of the text and images used in an exhibit titled <i>Clothing Identity.</i>

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