File contains photographs and transparencies of various Northwest Coast artifacts housed at the then called Canadian Museum of Civilization [now the Canadian Museum of History]. Other images are of Charles Edenshaw. The textual records contained in this file include catalogue records for many of the artifacts included in this file.

This file contains the beginning stages of exhibit design for the <i>Signed Without Signature</i> exhibit. This file is divided into two parts: concrete wall, and window wall photo. These refer to structural elements in the gallery space where objects and signage were to be displayed.

File contains images of photographs, letters, and newspaper clippings used for background research for this exhibit. Other textual materials include inkjet copies of photographs of silver pieces featured in the <i>Signed Without Signatures</i> exhibit. The photograph in this file is a reproduction of a historic photograph with nine men, five sitting in the front row and four men standing behind posing in front of a wooden building. They are all wearing three piece suits.

The report outlines the museum's activities and finances for the previous fiscal year, including listing staff, attendance figures, acquisitions, exhibitions, educational activities, public programming, events, loans, research projects, and publications of the museum and its staff. It includes descriptions of awards presented to the museum, the launch of the Voices of the Canoe website, the first full year of the Audrey & Harry Hawthorn Library & Archives, changes to the Native Youth Program, and other initiatives.

File mainly contains photocopies of images of Northwest Coast pieces featured in the exhibit, and photocopies of historical images of Edenshaw and of First Nations villages. Other textual records include copies of loan agreements between MOA and the Royal BC Museum. The photographs are reproductions of historical photographs featuring Charles Edenshaw.

File contains copies of still images permission forms from the Royal British Columbia Museum, as well as copies of correspondence between McLennan and the RBCM regarding obtaining images from the RBCM for the <i>Signed without Signatures</i> exhibit. There are also photocopies of the images of cedar hats and silver bracelets supplied by the RBCM. The contact sheets include images of a cedar hat.

File contains copies of correspondence between McLennan and the Royal Ontario Museum (ROM) regarding MOA borrowing some pieces from their collection to showcase in the <i>Signed Without Signature</i> exhibit. The majority of the photographs contain in this file are images of a cedar hat held at the ROM. Other photographs depict gold and silver bracelets.

Subseries consists of records related to the <i>Signed Without Signature: Works by Charles and Isabella Edenshaw</i> exhibit curated by McLennan for MOA. In this exhibition, McLennan focused on showcasing Charles Edenshaw’s metalwork and painting, and Isabella Edenshaw’s basketry, to illustrate how each artist created a recognizable “signature” through art and not by physically signing their names, and how it evolved through their long careers. Records include research on the Edenshaws, exhibit photos, reviews, notes, correspondence, artifact loans, and files relating to individual museums and heritage institutions which hold Edenshaw artifacts.