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• March 29 - Summer, 1994
• This display gives MOA visitors a unique opportunity to see a work of art that represented British Columbia’s First Peoples at Expo 92 in Seville, Spain.

• January - Summer, 1994 (Lower Lobby Wall)
• “Woman’s Work” is a ceramic wall of tiles exploring various patterns and symbolic motifs. Much like the tradition of quilting, the piece is made up of thirty-five 2’ x 2’ tiles forming a vibrant guilt of clay.

• May 2 - 31, 1995
• This exhibit brings together examples of little known Native American and Inuit maps, many of which have never before been reproduced. The maps document the extensive trade, social and political networks in which Native Americans lived and the historic events, cultural traditions, and spiritual beliefs that gave meaning to their landscapes.

• Summer 1996
• This summer, the museum is expanding its exhibit of jewellery in the Masterpiece Gallery to highlight the history of metalwork on the Northwest Coast. Included are early iron and simple twisted copper bracelets, as well as contemporary pieces by Mary Ann Barkhouse, Dale Campbell, Jim Hart, Russell Smith, Francis Williams, Lyle Wilson and Don Yeomans. The exhibit also includes a case devoted to the museum’s collection of gold and silver work by Robert Davidson, and another to the work of the late Kwakwaka’wakw artist Lloyd Wadhams.

• [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.

• April 1 - June 30, 1999
• A one-case exhibit of metalworks by Kwakiutl artist Mary Anne Barkhouse, whose original pieces of jewelry may be found in the Museum’s permanent collections, as well as for sale in the Museum Shop.

• 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.

• 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 3 - September 30, 2009 (Lobby)
• This magnificent panel by Coast Salish artist John Marston was accompanied by excerpts from “Killer Whale and Crocodile,” a documentary about John’s journey to Papua New Guinea, where he met and was inspired by Sepik carver Teddy Balangu to carve this work. Curatorial liaison Carol Mayer, Curator, Africa/Pacific.

• June 5, 2006 (Gallery 8)
• The Museum has recently embarked upon a major Renewal Project known as “A Partnership of Peoples”. In this exhibit, MOA displays its plans for expansion and renovation, a scale model, and samples of architectural details, finishings, and furnishings.

• February 15, 1995 – October 19, 1997
• Student exhibition: As a final project, students enrolled in the course “Ethnography of South Asia” mounted five exhibits on Indian religion and culture, with themes ranging from the epic Ramayana to contemporary Punjabi family values. Their exhibits can be seen in the Theatre Gallery and in Visible Storage.

• March 21 – September 30, 1996

• November 4, 2021 – March 27, 2022
• CURATORS: Nya Lewis (founder + director, BlackArt Gastown), Nuno Porto (MOA Curator, Africa), Titilope Salami (PhD candidate, Department of Art History, Visual Art and Theory, UBC)
• Sankofa is the idea of moving forward while reaching back to connect to one’s heritage. It is the notion that taking pride in heritage helps us to move into the future. Sankofa comes from the Ghanaian Akan language, and the word and its essence have been adopted by many African and Black people around the globe as an expression of cultural and political affirmation. Sankofa: African Routes, Canadian Roots looks at some of the divergent—and often fragmented—paths of political mobilization and cultural assertion that African and Black people in the diaspora have taken. Centered on works by contemporary artists from Lagos, Nigeria, and Vancouver, in conversation with objects in MOA’s permanent collection, this exhibition shares stories, histories and projects of African and Black affirmation. In particular, it draws connections to historical contributions and the growing vitality of Black Canadians in Vancouver. Ultimately, Sankofa: African Routes, Canadian Roots celebrates different ways of understanding the world through the lenses of African and Black communities, the wealth of their cultural and art practices, and their inspiring legacy.

Use for: WIPCE, World Indigenous Education Conference

• The first annual World Indigenous Peoples Conference on Education was held at MOA/UBC in June 1987.

Use for: Statue