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• April 12 - June 15, 1977
• Student exhibition

• March 28, 1980 - September 30, 1981 (Theatre Gallery)
• Student exhibition

• March 28, 1980 - December 31, 1981 (Theatre Gallery)
• Student exhibition

• September 6 - November 17, 1991 (Gallery 5)
• The history of the Jewish experience in Canada was brought to life with 300 objects, from the common to the extraordinary, and the personal stories of individuals, from the famous to the unknown. The exhibition explored relations between Jews and non-Jews in Canada-relations that have been touchingly warm and disturbingly harsh. By mirroring the experiences of other ethnic and cultural communities in Canada, “A Coat of Many Colours” offered visitors a very timely understanding of the strengths of our national cloth.

• September 11 – October 2, 1979
• A collection of 10 original serigraphs by: Dempsey Bob, Frank Charlie, Joe David, Freda Diesing, Roy Hanuse, Larry Rosso, Jerry Smith, Russell Smith, Art Thompson, Francis Williams.

• April 1 - December 31, 1979
• Student exhibition

• January 28 - February 9, 1986. A commercial exhibition.

• May 18, 1993 - January, 1994 [Spring 1998 - August 1998] (Theatre Gallery)
• Student exhibition: Pam Windsor, Heiltsuk woman, curator and graduate student in anthropology, challenges stereotypes of First Nations working women, particularly in male-dominated industries like fishing and fish processing.

• March - April, 1994. Placed on permanent display September, 1994.
• Five life-sized figures of coloured fragments of ceramic tiles and mirrors will go on permanent display in MOA’s lower lobby. Michener says, “I have used ceramic and glass fragments or shards to piece together some ideas and images about living.”

• October 28, 1994 - March 31, 1995
• This is the first public exhibition of the drawings and poems by Nuu-chah-nuulth artist Ron Hamilton. Made for his own pleasure over the past thirty years, Ki-ke-in’s (Ron Hamilton) drawings and poems show an extraordinary imagination at work. The drawings celebrate the complex cosmology of his people, the Nuu-chah-nulth, while the poems proclaim the intensity of the poet’s engagement with life.
• CURATOR: Marjorie Halpin

• 1994. A photograph exhibit in celebration of First Nations people who have received honorary Doctorate degrees from the University of British Columbia.

• June - July, 1995
• This monumental cedar sculpture stands over 15 feet high and features male and female figures standing upon a giant frog. The sculpture symbolizes a Haida origin story of the Frog crest, one of four crests which Jim Hart has the right to use. The male figure captures the moment of transformation between from and human form. The sculpture was commissioned by Westminister Management Corporation and Bentall Corporation and is generously on loan to the Museum.

• January 31 - March 31, 1996
• An exhibit of drawings in graphite, pencil crayon, crayon, and ink by Hongeeyesa, an Assiniboine artist who lived in what is now southern Saskatchewan between 1860 and 1927. Called “ledger drawings” because they were sometimes done on lined accountant’s paper provided by government Indian agents, these drawings provide invaluable information about Native life in the mid to late 1800s. This national touring exhibition was organized by Glenbow and is the result of a special collaboration between Glenbow’s guest curator Valerie Robertson, co-writer Charlotte Nahbixie, John Haywahe (grandson of the artist), and the people of Carry The Kettle First Nations.

• December 3, 1997 - August 31, 1998
• Drawing on one of the finest private collections of Early Chinese art, Recalling the Past spans 4,500 years of Chinese art from the Neolithic through the Han, Tang and Song dynasties. The exhibit features diverse objects in jade, bronze, ceramic, gold and silver, and other materials - all remarkable for the exceptional quality of their manufacture and design. The objects highlight aspects of ancient Chinese civilization - notions of ritual, changing decorative motifs, the formation of national unity during the Han, the importance of the Tang in later time, and the justified fame both within China and around the world of Chinese ceramics.

• 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 7 - September 6, 1999
• Student exhibition: An exhibit of recently donated prints and drawings by ten Inuit artists organized by the students of Anthropology 432 (The Anthropology of Public Representation) to reflect ideas about community history and identity.

Use for: Early Chinese Ceramics from the Victor Shaw Donation

• May 30, 2001 - March 10, 2002
• With this exhibition, the Museum of Anthropology celebrates the recent gifts of The Victor Shaw Collection of Chinese Arts to the University of British Columbia. Created over a period of 5000 years, the objects in the collection are made of ceramic, bronze, and precious metals. Each piece reflects the collector’s sensitive eye and discriminating taste and, in turn, a long tradition of Chinese art connoisseurship.

• October 13, 2003 - October 31, 2004.
• MOA Curator of Ethnology Pam Brown (Heiltsuk), guest curator Tanya Bob (Tahltan), and members of the Tahltan community create the first ever museum exhibit of Tahltan First Nations art and culture. The Tahltan live in the villages of Iskut and Dease Lake on the Stewart-Cassiar Highway, and Telegraph Creek, below the Grand Canyon of the Stikine River. This exhibit has been developed collaboratively to highlight the profound and continuing links between the Tahltan and their land, culture, and heritage.

• February 6 - September 3, 2007
• The Village is Tilting: Dancing AIDS in Malawi features a series of masks, photographs, and videos documenting the depth of awareness and cultural response to the AIDS pandemic by rural Malawians. More than a plaintive victim's cry, The Village is Tilting uses elements of Gule Wamkulu itself - dance, drama, dialogue, and humour - to strip away conventional images of AIDS to reveal its inextricable links to an interconnected set of conditions and causes: poverty, gender inequality, and civil injustice. The exhibition is guest curated and assembled by Vancouver-based photographer Douglas Curran, who has documented the Chewa mask culture for over ten years.