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• May 24 - July 1988 (Theatre Gallery)
• People have lived at Musqueam for at least 3,000 years. Over the last century the City of Vancouver has grown up around the Reserve created at this ancient site. In this exhibit of archival photographs and oral history, two Musqueam women, Verna Kenoras and Leila Stogan, tell the story of their people over the last one hundred years. Cosponsored by the Musqueam Band Council.

• July 14 - September 15, 2012 (Satellite Gallery)
• The Kwakwaka’wakw artist Henry Speck, or Udzi’stalis (1908 – 1971), became a “newly discovered phenomenon” in 1964 when his paintings of masked dancers, coastal creatures, and sea monsters were shown at Vancouver’s New Design Gallery. Chief Speck, from Turnour Island, British Columbia, was a community leader, teacher, and cultural practitioner. By the 1930s he was also becoming known for his modern paintings, rendered in vibrant colours and textures. His work caught the attention of the Austrian artist and theorist, Wolfgang Paalen, and was declared by the Haida artist Bill Reid to be “far beyond anything attempted before in Kwakiutl art.” Experience Henry Speck’s paintings through originals and large-scale projections that refigure his work against a backstory of media images, sound, and film—an installation that evokes the changing contexts of the mythic and the modern in the 20th century. This exhibition is made possible with support from the Michael O’Brian Family Foundation, and is organized by the UBC Museum of Anthropology and Satellite Gallery. The exhibition was curated by Karen Duffek, MOA Curator of Contemporary Visual Arts & Pacific Northwest; and Marcia Crosby, writer, scholar, and PhD candidate, UBC Department of Art History, Visual Art, and Theory. Media by Skooker Broome, Manager, Design/Production, MOA.

• 1981

• 1979

• October 1, 1992 – March 14, 1993
• Changes in Hong Kong’s New Territories mean that farm tools and household utensils, once integral to daily life, are no longer used. This exhibit features the traditional tools and clothing of the Hakka people of this area.

• March 1 - October 9, 1988 (Gallery 9)
• Student exhibition: Popular culture represents social values, attitudes and lifestyles and is often taken for granted although it forms the everyday culture in which we participate. This exhibition, produced by students in Anthropology, provides four separate sculptural statements that focus on one aspect of popular culture - the interaction between the consumer and the mass media. Each installation of Popology - Catch the Wave; The Event; Alice in Consumerland and decor-me-beautiful - explores one faucet of this relationship.

Use for: Totem pole raising

• November 3, 2012 - March 24, 2013 (The O'Brian Gallery)
• In her own celebrated work, Australian ceramic artist Gwyn Hanssen Pigott nudges pale-glazed tableware forms into still-life groupings of bowls, bottles and cups. Individually familiar, the juxtaposed forms speak to one another and to the observer with surprising emotion. In this exhibition, Ms. Pigott has selected objects from the Museum’s permanent, world-wide collection and re-assembled them, with her own works, in surprising new relationships. The “introductions” have been made based on colour, form, and pattern, often featuring objects that are normally never displayed together. The pieces are not placed within any historical or cultural context; rather they are grouped to illustrate that, regardless of social or cultural background, makers share similar aesthetic choices when making decisions about the creation of their work. Gwyn Hanssen Pigott is recognized as one of Australia’s most significant contemporary artists and has exhibited extensively in Australia, America, Europe and Asia. In 2002 she was awarded the Medal of the Order of Australia for service to the arts as a ceramic artist and teacher. The exhibition is curated by MOA Curator Dr. Carol E. Mayer and Susan Jefferies, past curator of Modern and Contemporary Ceramics at the Gardiner Museum, Toronto.

• November 22, 2019 – March 29, 2020
• Curator: Carol E. Mayer

• April 17 - September 2, 1979

Use for: Kekuli, Quiggly hole

• November 25, 2014 - April 5, 2015 (The Audain Gallery)
• This exhibition was curated by Katharina Greven (Iwalewa Haus). Nuno Porto is the Curatorial Liaison (MOA). This exhibition was developed by Goethe-Institut, National Museums of Kenya,Iwalewa Haus and the DEVA-Archive. Thanks to our sponsor The Georgia Straight. MOA takes a profound look at Kenya’s popular culture through an illuminating collection of studio photography, from the 1910s to the present day, in the North American premiere of Pigapicha!, November 25, 2014 through April 5, 2015. Including more than180 photographs spanning a century, this deeply moving exhibition showcases portraits that are carefully staged in the studio as well as those quickly taken on the streets of Nairobi. The exhibition documents the customs of modern Kenyan urban culture while supporting an East African history of photography.
• “MOA has always served as a forum for cultivating an understanding and appreciation of the diversity of world arts and cultures traditions,” explains Nuno Porto, Curatorial Liaison for Pigapicha! at MOA. “This Canadian premiere exhibition aligns with MOA’s mission through a comprehensive examination of studio photography in East Africa, incorporating works from all backgrounds – as opposed to similar projects which have focused on Kenya’s booming middle-class.” Curator and professional photographer Katharina Greven, formerly of the Goethe-Institut in Kenya, partnered with more than 30 photography studios in Nairobi and consulted with photographers, studio operators, artists, bloggers, journalists, and cultural scientists to curate this diverse collection of portraits – a subtle balance between the fine arts and the rich, distinct flavors of East African popular culture. “A highly-regarded art form in Nairobi, portrait photography is used to tell stories, share social status, and transform everyday life,” says Curator Katharina Greven. “More than a direct reflection of the individual, these self portraits highlight and amplify desirable features to create an illusion of the idyllic self. In the past 15 years, studio photography has experienced an unfortunate decline in popularity – likely a direct result of cameras, now commonplace on mobile phones. For this reason, Pigapicha! serves to recognize and preserve portrait photography as a significant art form and thus connect us to the significant history of urban Kenya before it is lost.”
• Pigapicha! – which literally translates as “take my picture!” – will include more than 180 images ranging from carefully staged artistic prints, to passport photos, to pictures snapped hastily on the streets of Nairobi. Judiciously arranged into six thematic groups –Uzee na Busara (Age and Wisdom), I and Me, Open Air, Imaginary ‘Safari’, Speaking from Yesterday and Intimacy – each image will offer a unique stance on the attitudes, beliefs, and customs of generations of Nairobi citizens. Born from the cooperative efforts of Iwalewa Haus and the DEVA-Archive, both with the University of Bayreuth, and the Goethe-Institut in Nairobi, this exhibition opening at MOA will mark the first time this powerful collection has been displayed for a North American audience. First presented in 2009 at the Nairobi National Museum, Pigapicha! has since been exhibited in 2011 at Iwalewa Haus in Bayreuth, Germany and in 2013 at the Forum des Arts et de la Culture in Bordeaux, France.