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• January 17 - March 4, 1984 (Gallery 9)

• 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.

• January 8 - March 3, 2013
• This exhibition featured the display of Alan Michelson’s panoramic video installation of the two banks of the Grand River, which divides the Six Nations Reserve from non-Native townships in Ontario. TwoRow II was generously loaned by the National Gallery of Canada. Ottawa. Curator: Karen Duffek.
• Full title: TwoRow II - A four-channel video installation with sound, by Alan Michelson (2005)

Use for: 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.”

Use for: Ulhk'acho

• September 15 - December 31, 1999
• This remarkable work was made by participants in the Traditional Parenting Skills Program of the Indian Homemakers’ Association of B.C. It is a visual symbol of the assistance and support offered by the Association over its thirty years of service to First Nations families.

Use for: YVR

• February 17, 1996 - December, 1997
• In these dramatic sculptures, Connie Sterritt (Nuu-chah-nulth/Gitksan) applies modern technology to traditional Northwest Coast shapes to produce a contemporary look at formlines and design. For Sterritt, the life-size Bear, Raven and Wolf sculptures represent “a longhouse, in a time when man and animal were of equal status, and ‘home’ was as beautiful as its surroundings.”

• 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.

Use for: Village life

Use for: Respect to Bill Reid Pole

• On June 21, 2002, National Aboriginal Day, the Museum launched a virtual exhibition developed to document the carving and raising of “The Tribute to Bill Reid Pole” by Jim Hart, which took place at MOA on October 1, 2000. In July 2002, the Respect to Bill Reid Pole virtual exhibit was nominated by the Virtual Museum of Canada for an award of excellence. http://www.virtualmuseum.ca/sgc-cms/expositions-exhibitions/bill_reid/english/index.html
• Ongoing, www.moa.ubc.ca

• May 10 - September 30, 2012 (The O'Brian Gallery)
• As Buddhism spread across Asia, symbols and sacred images developed to represent the Buddha and illuminate his teachings. These images offer the devotee and viewer both consistency in the forms of Buddhist art, and a vast array of subtle and obvious differences. The latter illuminate the variety of rituals, religious texts, and beliefs generated over time, culture, and geography. They offer a window into Buddhist philosophy, aesthetics and values, combining beauty and meaning. Works of art in the exhibition focus on basic Buddhist concepts and images, and reflect the purpose of Buddhist art: why it is made, who made it, for whom, and how it is used; for example, in teaching, facilitating meditation, gaining merit, and for devotional purposes. Exhibit content reflects the Three Treasures of Buddhism, that is the Buddha, the Dharma (Teaching), and the Sangha (Community). Also described is the role of the bodhisattva and expressions of Buddhist practice, such as obtaining merit and devotion. The exhibit will decode the meaning of representations in Buddhist art, such as hand gestures and the attributes associated with various images. The objects on display illustrate the primary images found in Buddhist art, and offer viewers a varied visual experience, from an early 5th century Gandharan sculpture, to a Zen painting. A range of media will be represented, including sculptures (made of stone, metal or lacquered wood) paintings, ceramics, manuscripts, and textiles. These will be drawn from MOA's Asian collection, as well as from private lenders in British Columbia and from the collection of the Art Gallery of Greater Victoria. Visions of Enlightenment will show examples of Buddhist art from the main Buddhist traditions: the Theravada, Mahayana and Vajrayana. In Vancouver, the latter traditions are well represented in the established Chinese, Japanese, Korean and Tibetan communities. The Theravada school represents the traditions of the Burmese, Thai and other Southeast Asian communities. The exhibition is guest curated by Paula Swart, who has been associated with the Museum of Anthropology as Adjunct Curator (Asia) since 2009. She teaches in the University of Victoria Continuing Studies Department, and has lectured on National Geographic Society expeditions to Asia. Additional curatorial advice is provided by Margo Palmer, current Director of the Canadian Society for Asian Arts. The Society promotes the arts and cultures of Asia through lectures, cultural events, exhibits, and educational programs. MOA Liaison curator is Dr. Carol E. Mayer, Curator Africa/Oceania. MOA Designer is Skooker Broome. Visions of Enlightenment is organized by MOA, and supported in part by the Canadian Society of Asian Arts, Bank of Montreal, and Tung Lin Kok Yuen Canada Foundation. Media Sponsor is the Georgia Straight.

• 2013 Online exhibition: http://www2.moa.ubc.ca/voicesofthecanoe/
• Learn about the canoe traditions of the Fijian, Squamish, and Haida people and understand the historical and ongoing importance of canoe culture for these Indigenous peoples. The site features interviews from Indigenous artists, canoe makers, and others to encourage students to consider multiple points of view, and to question what is historically significant and what evidence is used to determine historical significance. It also hosts a range of evidence – photographs, maps, interviews, historical texts and short films. This website was developed by MOA in conjunction with The History Education Network/Histoire et Education en Reseau (THEN/HiER).

Use for: Horse & Cart, Horse & Buggy

• January 13 – March 28, 1980