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Subseries contains one file consisting of correspondence, draft manuscript pages, and photographs relating to the ‘Marie Mauze Project’. This project involved the Kwakiutl Museum (now named the Nuymbalees Cultural Centre) and pieces from their collection that had been returned to them after the ban on potlatches had been lifted. The project was designed in order to create a book, however, the book was never published.

Subseries contains records related to an exhibit on Northwest Coast metals developed by McLennan in collaboration with two anthropology students. Records include exhibit design notes including case arrangements, the exhibit proposal from the students, correspondence regarding the exhibit preparations, research regarding Northwest Coast metal works and photographs depicting various artifacts that would be included on display.

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

Subseries consists of images taken in the great hall at the Museum of Anthropology showing an exhibit titled Chronicles of Pride. Patricia Richardson Logie participated as an artist showing her portrait of Blanche MacDonald.

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 consists of records related to the graphic design for the Heaven, Hell and Somewhere in Between exhibit, on display at the Museum of Anthropology May 12 - October 12, 2015. The exhibit was curated by Dr. Anthony Shelton (MOA Director).

Subseries consists of correspondence and transcription records relating to an interview with Musqueam weavers, Debra Sparrow and Robyn Sparrow.

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 images of the opening ceremony for the exhibit titled <i>Eulachon: A Fish to Cure Humanity</i>.

This exhibit, which does not appear in the records as ever occurring at the museum, contained ceremonial objects honouring the bear, from the Ainu people, who are indigenous to the island of Hokkaido in northern Japan.

Subseries consists of records relating to the exhibit “My Ancestors are Still Dancing” at MOA. As part of a “living” exhibition, Tsimshian weaver William White from Lax Kw’alaams was commissioned to publicly weave a child-size robe in Gallery 8. The exhibit displayed William White’s weavings, historical weavings from MOA’s collection, and historical and contemporary photographs of people wearing Chilkat regalia. The exhibit was installed in 2001 and ran through until September 28, 2002. Records include acquisition/artifact lists, artist biography, budget, correspondence, exhibit labels, exhibit proposals, exhibit panel layouts, exhibit resource binders, grant applications, internal forms (consent forms), installation diagrams, map, meeting agendas memoranda, notes, object records, photographs and slides, photocopies of photographs, professional guidelines, reports, schedules, recorded audio research interviews, transcripts of research interviews, travelling exhibit, and visitor comments.

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.