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David Wheeler Palmer was a Bridgewater, Michigan school teacher and farmer. His papers consist of diaries, 1846-1864, 1876-1882, and 1887-1892, concerning daily activities and farm life. There are also papers of other family members, including Emmett Newton Palmer, a Brooklyn, Michigan physician, Fred E. Palmer, a surgeon who served in the Spanish-American War, and Louisa Palmer, who was a teacher in Hawaii.

The David Wheeler Palmer collection consists mainly of his diaries and other papers. These diaries, dating from 1846 to 1892 with some gaps, comment in detail on his life, his family, the weather, financial transactions, and local politics. Other portions of the collection include materials of other family members: Palmer's wife Fidelia Randall Palmer; her brother Roswell Randall, Jr.; Emmett Palmer, the son of David and Fidelia; Fred Palmer, the son of Emmett; and Joseph Palmer, the father of David. Of interest are the photographs accumulated by Dr. Fred Palmer while he was serving in the Philippines. These include images of Hawaii on route to the Philippines and of the Santa Mesa facility in the Philippines. Another family member represented in the collection is Louisa Palmer who taught in Hawaii. She was an inveterate traveler who wrote extensive letters describing places visited for her students and family.

Agency established by Eugene Power to provide market for Inuit art, also gallery for Inuit art. Correspondence, scrapbooks, and office files detailing the company's activities.

The records of Eskimo Art, Inc. is valuable for their documentation of the firm's role in bringing awareness of Inuit art and culture to the United States, and its attempt to prevent the commercialization of this artwork. The records have been arranged into four series: Correspondence files, Informational, Scrapbooks, and Cape Dorset Annual Exhibit.

University of Michigan graduate (BFA '74, MA '76, and Ph.D. '88) and artist, art historian, and educator with an emphasis in Latino art. Materials include artwork as well as research, teaching, and professional topical files.

The George Vargas papers present a look at the interests, work, and activities of artist and historian George Vargas. The material is dated from approximately 1933-2016 and includes topical files, artwork, and correspondence.

The strength of the collection is found in the numerous lectures written by Vargas, which reveal the depth of his research, the original artwork, and the broader view of multi-cultural and, particularly, Latino art activities in Michigan. Also of note are his extensive files of artists that were of interest to him as well as his own papers and publications.

The researcher should note that many items in the collection overlap various series. As a result, researchers should—in addition to reviewing multiple series—be sure to look for the "see also" notes that help identify some of these overlaps.

Established as a separate unit of the university in 1946, the University of Michigan Museum of Art serves as a research and teaching facility for the university and surrounding communities. The record group documents the museum's exhibitions and installations of the permanent collection and complementary interpretive programming. Records include exhibition files; executive committee minutes and director's correspondence; photographs; publicity files; and material related to the Museum Practice Program.

The records of the University of Michigan Museum of Art document its exhibition program, administration and its educational function through the Museum Practice Program. The UMMA record group has been arranged into seven series: Exhibition Files, Executive Files, Photographs, Publicity, Museum Practice Program, Historical Background, and Docents. The records include correspondence, committee minutes, publicity material and photographs. Exhibit catalogs and other publications are described separately in the Museum of Art Publications finding aid.

Detroit portrait painter and feminist activist. Correspondence, printed material, newspaper clippings, photographs, reports, speeches, articles and other papers documenting her career as an artist, and with the Michigan Women's Commission, the National Association of Commissions for Women, the National Organization for Women (NOW) and other civic, Republican, and feminist organizations.

While most of the material relates directly to Patricia Hill Burnett, the papers also relate to the more general women's movement during the 1970s and early 1980s.