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• July 21, 1992 - April 4, 1993 (Gallery 5)
• This exhibition begins as a work in progress that offers the public access to what normally occurs behind the scences in the creation of an exhibition. The exhibit, which opens in September, presents the developmental work pioneered by MOA staff to examine the complex and dynamic painting traditions of the First Peoples of the B.C. coast. The results of infared photography, raking light and computer images are used in the exhibition gallery by contemporary First Nations artists of the northern coast to recreate paintings not seen for more than a hundred years.

• March 21 – June 4, 1996

• 1963

• February 6 - September 3, 2007
• The Village is Tilting: Dancing AIDS in Malawi features a series of masks, photographs, and videos documenting the depth of awareness and cultural response to the AIDS pandemic by rural Malawians. More than a plaintive victim's cry, The Village is Tilting uses elements of Gule Wamkulu itself - dance, drama, dialogue, and humour - to strip away conventional images of AIDS to reveal its inextricable links to an interconnected set of conditions and causes: poverty, gender inequality, and civil injustice. The exhibition is guest curated and assembled by Vancouver-based photographer Douglas Curran, who has documented the Chewa mask culture for over ten years.

• October 27, 1987 - January 31, 1988 (Theatre Gallery)
• A look at white urban culture through the lens of Iroquois artist/photographer Richard Hill. This exhibit is part of the Indian Modern series and was made possible through the support of the Canada Council.

• July 4 - August 31, 1977
• Student exhibition: A M.A. thesis exhibition prepared by Emmanuel Onwuzolum.

• Thru December, 2000
• Three exhibit cases highlight different aspects 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. A third presents two contemporary works by master artist Dempsey Bob (Tahltan) alongside an older Tlingit piece from the Museum’s collections.

• 1985

• November 1, 2006 - January 14, 2007 (Lower Lobby)
• Buddhism was introduced to Tibet in the seventh century, and since that time Tibetan Buddhist sacred art has grown and flourished. The Tibetan word ?thangka? refers to a work done on cloth and set in a silk or cotton frame. In this small exhibit, MOA is pleased to present several works by Kalsang Dawa, a master practitioner in the Thangka style.

Use for: Teepees, Tepees

Use for: Mobilized

• June 13, 2024 – March 31, 2025 (Audain Gallery)
• CURATORS: Dr. Marcia Crosby (Ts’msyen/Haida) and Karen Duffek (MOA Curator)
• This multimedia exhibition of large-scale archival photographs and film explores how, during the period of potlatch prohibition and other forms of erasure in Canada, First Nations people of British Columbia represented themselves as Indigenous in urban public spaces—at parades, protests, royal visits, tourist markets, civic jubilees and intertribal gatherings.
• Looking back through a rich trove of archival material reveals the diverse ways that First Nations worked to be seen and heard, striving to have their rights recognized—rights to their lands, their laws and their future.
• In this exhibition, large-scale projections of historical photographs and film are accompanied by audio commentaries by Indigenous community members who reflect on the images from their perspectives today. Their words help to illuminate an often-neglected backstory of British Columbia’s modern history, in which First Nations people ensured they were seen and heard at a wide range of public events. First Nations objects, belongings and artworks made and used during the era are displayed facing the archival projections, reconnecting these items—most now part of the collection at MOA—to their place in a modern history from which they are often separated.
• As visitors to the exhibition consider the subjects of these historical images, the First Nations people in these images look back through the camera lens at the viewers—with the intent they envisioned for their futures.

• March 31 – August 15, 1989 (Gallery 9)
• Student exhibition: In this exhibition, Museum Studies students explore some of the intriguing dimensions of buying a piece of another culture. This multi-part study examines the influences and impact tourism has on the production of cultural objects; the ingenuity of the producers in meeting expectations; the conflict inherent in selling sacred images; and the multiple roles objects play in the lives of the purchasers.

• March 2003
• Student exhibition: Based on a memorial for Maggie Pointe of the Musqueam Nation, the exhibit includes a contemporary 14-foot West Coast style canoe and its contents donated by Shane Pointe and Gina Grant. This is the first exhibition curated at MOA by UBC’s Critical Curatorial Studies graduate students.

Use for: Pipes, tobacco

• April 5 - September 30, 2013 (Multiversity Galleries)
• Student exhibition: This small exhibit was developed by students as part of ANTH431. It featured two Nuxalk sun masks and their corona and documented how the components were separated in the past and then reunited through this exhibit. This exhibit then traveled to the Seattle Art Museum for display. Curator: Dr. Jennifer Kramer.