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• October 4 - December 16, 2012 (The Audain Gallery)
• Bursts of bright light danced across the royal courts, ceremonies, processions and battlefields of pre-Columbian Peru. Reflected by the gold and silver of crowns, jewelry, regalia, costumes and banners, such luminosity proclaimed the divine power and authority of Andean priests and rulers for nearly 2,500 years. Despite the 16th century Spanish Conquest, the importance of the reflective properties, and divine qualities traditionally associated with gold and silver, were not forgotten. New techniques were developed to satisfy the novel demands of the Catholic Church and colonial elite. Later, Peruvian Independence inaugurated a revival of the indigenous use of silver, and the introduction of a new style of silverware celebrating the country’s distinct flora and fauna. Luminescence: the Silver of Peru traces the long history of silverwork and the fascination with the metal’s divine and luminescent qualities. It will display pre-Columbian works to those made by contemporary artists, including national treasures seldom seen outside of Peru. The exhibition is curated by MOA Director Dr. Anthony Shelton, and made possible through the generous support of the Pan American Silver Corp. and the Patronato Plata del Peru.

• March 25 – December 7, 1996

Use for: Fort George Indian Band, Fort George

• June 1 - September 30, 1976

Use for: Tla'amin, Sliammon

• November 17, 2016 - April 19, 2017.
• CURATOR: Jennifer Kramer
• From birth to death, humans are wrapped in cloth worn for survival, but more importantly, wear clothing as an external expression of their spiritual belief system, social status and political identity. This stunning exhibition will explore clothing’s inherent evidence of human ingenuity, creativity and skill, drawing from MOA’s textile collection — the largest collection in Western Canada — to display a global range of materials, production techniques and adornments across different cultures and time frames. Curated by Dr. Jennifer Kramer (MOA Curator, Pacific Northwest), Layers of Influence will entrance MOA visitors with large swaths of intricate textiles often worn to enhance the wearer’s prestige, power and spiritual connection, including Japanese kimonos, Indian saris, Indonesian sarongs, West African adinkra, adire and kente cloth, South Pacific barkcloth, Chinese Qing dynasty robes, Indigenous Northwest coast blankets, Maori feather cloaks and more. A sumptuous feast for the eyes, the exhibition is an aesthetic and affective examination of humanity’s multifaceted and complex history with cloth and its ability to amplify the social, political and spiritual influence of the wearer as a functional expression of self-identity.

• May 10 - October 16, 2016
• CURATORS: Karen Duffek (MOA Curator, Contemporary Visual Arts & Pacific Northwest) and Tania Willard (artist and independent curator, Secwepemc Nation)
• Vancouver artist Lawrence Paul Yuxweluptun, of Coast Salish and Okanagan descent, is showcased in this provocative exhibition of works that confront the colonialist suppression of First Nations peoples and the ongoing struggle for Indigenous rights to lands, resources, and sovereignty. Twenty years since his last major Canadian solo show, Unceded Territories will demonstrate the progression of Yuxweluptun’s artistry and ideas through hard-hitting, polemical, but also playful artworks that span his remarkable 30- year career, featuring a selection of brand-new works exhibited publicly for the first time. Co-curated by Karen Duffek (MOA Curator, Contemporary Visual Arts & Pacific Northwest) and Tania Willard (artist and independent curator, Secwepemc Nation), Unceded Territories promises colour and controversy through this display of over 60 of Yuxweluptun’s most significant paintings, drawings, and works in other media – a critical and impassioned melding of modernism, history, and Indigenous perspectives that records what the artist feels are the major issues facing Indigenous people today. This exhibition will undoubtedly fuel dialogue, indignation, and even spiritual awareness as it tackles land rights, environmental destruction, and changing ideas about what we can expect of Indigenous art from the Northwest Coast. The issues Yuxweluptun addresses are impossible to ignore.

Use for: Songhees, Lekwungen

Use for: Kwakkewlths, Kwakiutl, Kwakwakawakw, Kwakkewlths

• April 5, 1983 - June 17, 1984 (Theatre Gallery)
• Student exhibition