This exhibition portrayed changes in the style of calligraphy from the Three Kingdoms period (57 B.C.-668) to the Joseon dynasty (1392-1910). The collection included rubbings of inscriptions on tombstones and bronze bells, as well as some 120 calligraphy pieces. Pyeongyangseong byeokgakseok of the Goguryeo kingdom (37 B.C.-668) is the 642nd National Treasure, and the Musem's rubbing of it is the only copy that has been well preserved in South Korea. Also displayed from the aforementioned periods were the following artifacts: the recently discovered Jungwon Goguryeo Monument, rubbings of tomb tablets or stele for renowned monks from the Silla (57 B.C.-668) and Goryeo (918-1392), and rubbings of the King Seongdeok Bell and other bronze bells. The rubbings of tomb tablets and stele are valuable historical data in that they were done in the writing styles of the eminent Chinese calligraphers Ouyang Xun, Yan Zhenquing, Wang Xizhi. The most famous ancient book included a Buddhist scripture, the 352nd National Treasure, that was written in 1386. Also on exhibit were calligraphy from Lee Hwang and Lee Yul-gok, both of whom were respected philosophers and scholars of Joseon, as well as calligraphy from many other famous scholars, kings, and queens of Joseon.

The Ewha Womans University Museum possesses only a limited number of modern Korean paintings. Still, this exhibition featured a total of 20 paintings and was composed of one ink painting and one oil painting by ten different artists. This exhibition helped explain the modernization of Korean art from the 1920s, through the 1950~60s, and up to the 1980s.

The old Ewha Womans University Museum building was built on a site measuring 1,322 square meters in 1960. However, for practical and scientific management of the Museum's expanding collection, and to provide various exhibitions and educational programs, a new three-story, modern-style museum building was constructed in 1989. This new building was located on a site measuring 4,399 square meters and on the left side of the University's main gate; the Museum reopened there in August 1990. In the new Museum there are seven exhibition galleries, including the permanent gallery, traditional arts gallery, dressing gallery, temporary exhibitions gallery, and the Ewha history gallery, as well as an audio-visual room, a room for organizing relics, a library, and a recording studio. During the Opening Ceremony Exhibition, antiques, earthenware, metal works, ceramics, paintings, and Buddhist works were displayed in the permanent gallery. These works variously dated from the prehistoric age (200,000 B.C.- 100 B.C.), the Three Kingdoms period (57 B.C.-668), the Unified Silla period (661-935), the Goryeo dynasty (918-1392) and the Joseon dynasty (1392-1910). In the traditional arts gallery located on the third floor, traditional wooden, lacquer, brass and stone artifacts were exhibited, and in the clothing gallery, everyday clothing and royal costumes from the Joseon dynasty were put on display. In the temporary exhibitions gallery, the paintings, writings, and belongings of Helen Kim (1898-1970)--Ewha Womans University's 7th president (1939~1961) and the Museum's 1st director (1935~1952)--who played a pivotal role in the creation and development of the Museum, were put on display to commemorate the opening. In addition, the history of Ewha Womans University was exhibited for the first time in the Ewha history gallery.

A new museum building was constructed to mark the 100th Anniversary of Ewha Womans University. To celebrate the completion of construction, the Museum hosted a commemorative invitation exhibition of 11 retired Ewha Womans University art professors. The 11 artists are prominent figures who have led the Korean art community and most of them are still active artists. The exhibit was composed of 22 pieces of art, including representational and abstract Western and Korean paintings, ceramic art, sculptures, and tapestries.

Lacquer ware with inlaid mother-of-pearl is made by placing brilliantly colored mother-of-pearl on top of lacquer ware. Painted ox-horn sheet handicrafts are made by processing ox's horns into clear sheets then painting various colored designs onto those sheets, and placing them on wooden ware. Lacquer ware with inlaid mother-of-pearl and painted ox-horn sheet handicrafts are two of the most magnificent and distinctive modes in Korean handicrafts. At this exhibition, 63 pieces of lacquer ware with inlaid mother-of-pearl and painted ox-horn sheet furniture, including wardrobes, drawers, chests, stationery boxes, and accessories such as mirror boxes, trays, tables, spools, combs, rulers, fans, and brushes were displayed.