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• June 28 - September 4, 1988 (Gallery 5)
• Using Pacific Northwest Coast Indian masks from MOA’s collection, this exhibition illustrates the tradition of making masks that extends along the entire Northwest culture area from northern Washington State through British Columbia to the Alaskan panhandle. The range of mask types and their use is considerable. They may represent chiefs and ancestors of high rank, or more commonly, serve as a means of making the supernatural world visible. Masks vary in size, shape, complexity and purpose from one tribal group to another. This exhibit combines both historical and contemporary examples of this dramatic art form.
• Canada House, London, England Travelling Through March 4, 1988

• September 25, 1991 - January 26, 1992 (Gallery 10)
• This exhibition of the Dene was also organized by the Prince of Wales Northern Heritage Centre in Yellowknife, N.W.T. The 25 black and white photographs in the show have been chosen from the Native Press Collection and curated by Dene photographer Dorothy Chocolate.

• October 1, 1993 - February 27, 1994 (Gallery 10)
• This exhibit explores the importance of Mabel Stanley to her family and her community. It features her ceremonial regalia that signifies her Kwakwaka’wakw culture and status.

• February 28, 1993
• This is one of a series of displays that show the contemporary work of BC ceramic artists alongside historical examples of the same technologies from the Museum’s collection, particularly those in the new Koerner Ceramics Gallery.

• 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 1995

• [Fall, 1996] - January 31, 1997
• Student exhibition: What do hockey, Vancouver’s Chinatown and the Canadian Pacific Railway have in common? They were among the many answers students in Anthropology 431 proposed to the question: “What is Canadian Cultural Property?” As their term project, they created a series of posters presenting their ideas. They invite you to come and give your own thoughts about Canadian cultural property in the comment books provided in the gallery.

• 1997

• 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 14 to mid May, 2000
• This is a special exhibit of works by students attending Emily Carr Institute of Art and Design. Each student was challenged to create a piece of work that is uniquely theirs, and yet consciously informed by echoes of historical techniques and ideas. The exhibit is jointly organized by MOA and Emily Carr Institute.

• 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.

Usar para: The Art Goes Back to the Stories

• October 9, 2001 - December 2002 (Theatre Gallery)
• This exhibition of the work of well-known Tahltan-Tlingit artist Dempsey Bob, consists of fourteen panels of text and photographs, as well as three of his most recent bronze sculptures. Produced by Dempsey’s daughter, Tanya Bob.

• Opened June 21, 2003
• Online exhibition also made: https://epe.lac-bac.gc.ca/100/205/301/ic/cdc/musqueam/index.html

• 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.

• 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.

Usar para: 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.