This exhibition is devoted to the traditional currencies of Africa, their place in numismatic history, and the sociocultural values which they convey. The works presented, which have been selected from private collections, constitute one of the most important groupings of such material in Spain.

Centro Cultural Conde Duque

Developed by the Royal B.C. Museum and the chiefs and elders of the Allied Tsimshian Tribes of Lax Kw’Alaams and Metlakatla, Treasures of the Tsimshian features 48 artifacts collected by the Rev. Robert J. Dundas at Metlakatla, BC, in 1863. The MOA is the final museum to host this traveling exhibition, which began in April 2006. A range of public programs accompanies the show.

During the period 1898–1915, amateur photographer and Umatilla reservation agent Thomas Leander "Lee" Moorhouse took over 9,000 photographs in and around Pendleton, Oregon, documenting a transitional period of Pacific Northwest culture as it moved from frontier life to the modern era. Using a large camera with dry gelatin plates, Moorhouse produced a dynamic and expansive pictorial record of the area, a task largely made possible by his good relations with the Native peoples of the region. This exhibition features a selection of these important images, sourced from the Knight Library Special Collections at the University of Oregon, Eugene and the National Anthropological Archives.

Featuring a wide array of beautiful Plateau objects from the Burke Museum's permanent collection, this exhibition brings to life the many types of materials depicted in Lee Moorhouse's 1898–1915 photographs, which are the subject of the Burke Museum's accompanying exhibition, Peoples of the Plateau: The Indian Photographs of Lee Moorhouse, 1898–1915. On display are fine examples of beadwork, cradle boards, cornhusk bags, baskets, blankets, and more. The show also features video interviews with tribal elders, in which they discuss the photographs and objects that include, in some cases, their own family heirlooms and ancestors.

Co-curated by Crow cultural advisor George Reed, Jr., this exhibition explores the development of the Crow people from a society of settled farmers into one of hunters, warriors, and nomads. On display are 13 striking historical objects, including a dramatic headdress of bison fleece and eagle feathers, a set of superbly beaded regalia for a woman’s horse, and symbol-bearing shields. Large-format photographs by Diane Alexander White of more artifacts from the museum's collections illustrate nomadic life on the northern plains, the continuing importance of the tobacco society, and the Crow appreciation of the horse.

Smith College Museum of Art presents the exhibition African Beaded Art, which explores the changes that occurred in the realm of African bead art once glass beads were introduced to the continent from Europe and India. Beads have been significant in expressing personal and social identity in Africa for centuries, and their traditional creation took new forms when the new and colorful glass beads were imported. There are distinct differences in the significance and purpose of beaded art in Africa depending on geographical region. In West and Central Africa, for example, beads functioned in an aesthetic of royal grandeur that was associated with religious and political structures, while in Southeast Africa beads often expressed group and individual identity, along with gender and social status. All the objects on display in the exhibition were created by unknown artists.

William Siegal Gallery presents an exhibition and sale of antique African currency. Iron-working and metalcraft were seen as mystical, alchemical arts in pre-colonial Africa, and metal objects, particularly those of iron, were used to trade and store wealth. Iron began to proliferate in Sub-Saharan Africa in the 17th century and quickly evolved into a desirable trade commodity. The diverse physical forms of iron currency were developed from traditional objects already in use, such as weapons, tools, bracelets, and anklets. The gallery has carefully chosen the objects on display for their inherent genius, craftsmanship, and beauty.

William Siegal Gallery

Pace Primitive presents an exhibition of Sudanese masks and statuary. A fully illustrated catalogue accompanies the show.

This exhibition, which originated at the Fowler Museum at UCLA last year, displays 24 Zambian masks dating from the late nineteenth century to the early twentieth century. The masks, known as makishi, embody ancestral spirits and are part of the masquerade traditions among the ethnic groups from the "Three Corners" region of Zambia, Angola, and the Democratic Republic of Congo. The exhibition examines not only the masks themselves, which are made of wood and decorated with materials such as plant fiber, cordage, and beads, but their meanings and uses as well.

This spring, Tambaran Gallery presents an exhibition of objects from Cameroon, Polynesia, and Papua New Guinea. The selection of pieces is eclectic, and will further deepen visitors' interest with the particular relevance of its choices.