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• September - November 1994
• These ceramic figurines portraying people and animals were placed in tombs to accompany the deceased to the afterworld. Some of these figurines have been in the museum’s collection since 1982, but were too fragile to be exhibited. They were recently conserved by the Canadian Conservation Institute in Ottawa, Ontario. The ceramics are gifts from Dr. Walter C. Koerner and from Mrs. Helen Heaney in memory of Helen Nordham Battle.

• April 13, 1995 – December 7, 1997

• 1997
• Student exhibition

• [Spring 1996]
• Student exhibition: A look at souvenirs and other Northwest Coast artistry for sale in Vancouver by students in Anthropology 432, “The Anthropology of Public Representation.”

• [Spring] - May 26, 1997
• Student exhibition: For the last three years, students in the art preparation programme at Chilliwack Senior Secondary have been visiting MOA and learning about museum practice through their work with the tiled stove in the Koerner Ceramics Gallery. Students in this year’s class learned about the process of developing exhibits by putting together this display about the programme.

• October 8 - December 31, 1998
• This travelling exhibit examines the life between the Wars in a Polish shtetl (market town). Thirty-nine framed photographs with text and maps provide insight into a period of extraordinary cultural ferment and change in the village of Lubomi prior to 1942, when nearly all the Jews in the town were killed during the Holocaust. The exhibit is underwritten and circulated by the Aaron Ziegelman Foundation of New York, and curated by Fred Wasserman, a leading social historian. The exhibition director is Jill Vexler, Ph.D.

• April 17, 2001 - December 31, 2002 (Gallery 3)
• Coast Salish baskets. Prepared by UBC Anthropology MA candidate Sharon Fortney, in collaboration with Museum staff and representatives from the Squamish, Klahoose, Stl’atl’imx, and Nlaka’pamux First Nations, this exhibit focuses on the evolution of Coast Salish basketry over the past fifty years. Text and photographs help visitors understand the social context from which these objects have emerged, and the meanings embedded in the objects themselves.

• Through May 13, 2001 (Lobby)
• As part of their “Topics in World Ceramics” course at the Emily Carr Institute of Art and Design, students in MOA curator Dr. Carol Mayer’s class have created and installed original ceramic pieces themed to words they chose to describe themselves. In this unusual display, the words “Extreme,” “Sensitive,” “Articulate,” “Determined,” and “Creative” describe not only the students’ sense of self, but also the works they have created.

• Through August 31, 2001 (corridor)
• Two cases, each highlighting a different aspect of Northwest Coast art. One features several turn-of-the-century paddles; another offers selections from a remarkable recent bequest of Northwest materials collected by Tom and Frances Richardson.

• April 4, 2002 - March 31, 2003 (Visible Storage)
• Student exhibition: Each year students in Anthropology 432 (Anthropology of Public Representation) create exhibits as part of their coursework. On April 4, 2002, the students opened their exhibition Viewpoints in the Visible Storage area. The exhibit is based on the fact that visitors experience Visible Storage from many different points of view that may be related to factors such as their age, gender, or culture.

• March 28 - June 10, 2006 (Gallery 10)
• In partnership with the UBC Dept of Latin American Studies, UBC School of Social Work and Family Studies, the Liu Institute for Global Issues, the Peter Wall Institute for Advanced Studies, and Vida y Paz, MOA is pleased to present a series of photographs by Colombian photo-journalist Jesús Abad Colorado. The photographs document contemporary effects of war and displacement within Colombia, and the ways in which those affected express their resiliency. The exhibit will precede the World Peace Forum at UBC (June 23-28, 2006), and is intended to spark critical thinking about issues of global significance.

Usado por: Welcoming Stone T'xwelatse

• March 1 to May 15, 2008
• T’xwelátse, ancestor of the Stó:lō-Ts’elxwéyeqw people, was born in the distant past when things were not quite right. He was turned to granite many years ago as punishment for mistreating his wife, who was charged thereafter with his care. For generations, the women of the family looked after their stone ancestor, who carried within him lessons about how to live and act properly. In 1892, Stone T’xwelátse was taken from his homeland and eventually acquired as an object of study by the Burke Museum of Natural and Cultural History in Seattle. In October 2006, after 114 years of separation from his extended family, Stone T’xwelátse was repatriated and journeyed home again. According to his namesake, Herb Joe, a former Chief of the Tzeachten First Nation, "he will continue to do the job he set out to do – to teach." Thanks to Herb Joe and his family, and the Stó:lō Research and Resource Management Centre, T’xwelátse will reside at MOA from March 1 through mid-May, where he will form the basis of a high school program on repatriation, and continue to share his message that “we need to learn to live together in a good way.”

• November 27, 2010 - January 23, 2011 (Satellite Gallery)
• No Windows, on view at Satellite Gallery from November 27, 2010 to January 23, 2011, is the result of a unique collaboration between the departments of Anthropology, Art History and Curatorial Studies at the University of British Columbia, as graduate students in each of these programs have joined forces to curate this new and exciting exhibition. No Windows presents artworks by local and national artists Rhonda Weppler + Trevor Mahovsky, Adad Hannah, Jamie Drouin, and Zoe Tissandier. In their work, the artists explore the structures that underlie gallery and museum practices, and challenge visitors' ideas about them as agents in the creation, mediation, and reception of art.

• April 20 – July 3, 2011 (Satellite Gallery, 560 Seymour)
• Through singing drums, family heirlooms, a talking basket, and cups of tea, artist Peter Morin sets the idea of the museum on the kitchen table. Peter Morin’s Museum weaves together familiar practices of museum display with a series of performances and an evolving installation to create a space in which to share Tahltan knowledge. As elements of the “museum” change and transform over time, visitors are invited to reflect on history, objects, and places of connection. Peter Morin, of the Tahltan Nation of northern British Columbia, is a Victoria-based performance artist. His ideas about museums and their transformation through indigenous ways of knowing began in his cousin’s cabin, where visits with friends, relatives, and elders offered him a gradual understanding of Tahltan history and means of sharing it with one another. For this exhibition, Peter locates the table—the place of gathering, of Tahltan sovereignty, of his grandmothers’ knowledge—within the space of an urban gallery. There are objects in cases and on the walls: family photos, precious tools, images of Tahltan territory, video, and drums painted with the songs they have sung. Just as visual access to these elements will change through their wrapping and unwrapping over the course of the exhibition, so too will visitors’ relationships to the work as the artist reveals his stories.

Usado por: One Mind, One Heart

• December 18, 2012 - April 21, 2013 (Multiversity Galleries)
• One Mind, One Heart is the response of the Heiltsuk Nation to the proposed Northern Gateway pipeline and to oil tanker traffic in their territories. The exhibit features the ancestral guardian ’Yágis swallowing an oil tanker trespassing in Heiltsuk waters. ’Yágis, the mask was created by ’Nusí, Heiltsuk artist and embodies the ancient teachings of the Heiltsuk to protect their land and seas against such perils as pipelines and oil tanker traffic in their waters. It also includes an iPad kiosk featuring films, photos of Heiltsuk territory, and community members protesting during the Joint Review Panel’s visit to Bella Bella. About the piece ’Nusí comments: “I created ’Yágis for One Mind, One Heart, an installation at the Museum of Anthropology to show my support in opposing the Enbridge Pipeline Project. He hunts down oil tankers and protects our territories and coast.”
• The installation was curated by Pam Brown, MOA curator in collaboration with the Heiltsuk Nation and ’Nusí, Ian Reid, Heiltsuk artist and activist.

• March 25 – December 7, 1996

• March 21 – September 30, 1996

• October 1, 1992 – March 14, 1993
• Changes in Hong Kong’s New Territories mean that farm tools and household utensils, once integral to daily life, are no longer used. This exhibit features the traditional tools and clothing of the Hakka people of this area.