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The Arthur Deshaies Collection was originally housed in a binder subdivided into three categories: "Regional," "National," and "International." Due to the inconsistent and disorganized arrangement of the material within these categories, the decision was made to rehouse the material in folders grouped by type of material: correspondence, exhibition ephemera, clippings, and memorabilia. The correspondence is between Deshaies and multiple galleries and museums that wanted to exhibit or purchase his work, and has been organized in chronological order by date. Notable correspondence includes the Atlanta Art Association, the Museum of Modern Art in New York, and Carleton College Art Gallery. Individual pieces of memorabilia have also been arranged chronologically by date.

The Benton Mural Records, 1997-2002, contains records regarding the Indianapolis Museum of Art’s assistance in the conservation of the Benton Murals, primarily the murals housed on Indiana University’s campus. The Benton Murals are a series of murals created by Thomas Hart Benton, a regionalist American painter, muralist, and printmaker from the Great Depression. A large portion of the collection consists of the file folders of paper documents. While there is a Media series, photos are also located in other series where they are relevant. The collection is comprised of records produced and collected by staff, including Martin J. Radecki, director of conservation. Many of the records were originally housed in binders and were kept in their original order. Researchers will find information regarding conservation efforts of value.

The Bradley Brooks Papers, 1914-2008, contains records during Brooks' time working at the Indianapolis Museum of Art as the Director of Historic Properties between 2006 and 2015. While some of the records were created by Brooks himself, many of the records he collected as background information used within educational binders to aid in projects and serve as resources. Most of the records pertain to the historical houses under Brooks' care, including the Lilly House, the Miller House, and multiple other historical sites. Researchers will find information regarding the architects and oral interviews pertaining to the histories of the sites of value.

The Dorothy Reifel Collection on J. Ottis Adams contains primary source documents and research files about the life and times of Indiana artist J. Ottis Adams, collected by Dorothy Reifel.

The collection is comprised of press releases, personal statements, correspondence between Elenor Cheney and several writers of art columns for local Indianapolis publications, and black and white photographs of the artist, her works, and installations of those works. Also included are several pieces of exhibition ephemera relating to different art shows and contests Cheney participated in.

The Herron-Museum Alliance Records, 1964-1980, contains records regarding the Herron-Museum Alliance, post its creation in 1958. The collection is comprised of records produced and collected by staff. It documents the actions, initiatives, and operations of organization. The files that were originally foldered together but rehoused into new folders to assist in their preservation. Researchers will find information regarding publicity efforts and museum building plans of interest. More information regarding the Herron-Museum Alliance can be found within the IUPUI (Indiana-University-Purdue-University-Indianapolis) archives and specials collections.

The IMA Archives Exhibition Records document the planning and execution of exhibitions created by and/or held at the Art Association of Indianapolis, the John Herron Art Institute, and the Indianapolis Museum of Art starting in 1883 and continuing through the present day. This collection is ongoing, as the Indianapolis Museum of Art continues to create new exhibition records each year. Individual exhibition files may include checklists, exhibition catalogs, installation photography, correspondence, press clippings, curatorial research files, shipping, receiving, and lending records, and other documentation. A file and listing have been created for every exhibition, regardless of whether any archival material survives. File listings with "[empty]" indicate that there is no archival material available for the exhibition. Many early exhibitions do not have any surviving archival documentation. This is an ongoing project to process these exhibition records, starting with the earliest records.

The J. Irwin Miller And Xenia S. Miller Travel Papers document the travel, both business and personal, that the Millers did from 1960 to 1990. The materials include trip itineraries, travel journals, correspondence, purchase receipts, travel brochures, travel guidebooks, ticket stubs, menus, and other ephemera and records of their travels.

The J. Ottis Adams Papers Addition includes three scrapbooks containing clippings, ephemera, correspondence, and photographs of the artist’s home and studio. The first and second scrapbooks document the artist’s professional life between the periods of 1891-1927 and 1895-1904. The final scrapbook was assembled by the artist’s family and contains additional material and notes related to the artist’s life, dated between 1901 and 1967. A letter from the St. Louis World’s Fair Department of Art (1904) is also included.

The first series, Personal and Professional Materials, includes business cards, clippings, a postcard from the artist Clifton Wheeler, small black and white reproductions of the J. Ottis Adams painting The Gleaners, 1886, and an anonymous painting of Mary Queen of Scots, as well as the Adams family's inventories of the collection. The second series, Exhibition Materials, consists of exhibition catalogues, announcements, and art association bulletins. The last series, Journals, includes journals with articles about J. Ottis Adams, Winifred Adams, and other artists of the Hoosier Group.