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The Adolph Shulz Collection was originally acquired by the Indianapolis Museum of Art in 1971, at the time that the IMA acquired a series of Shulz artwork with the accession numbers 71.217.1-23. This collection contains black and white photographs of the Shulz family in the original photo album, including individual studio portraits of different members of the family through the years. There are several black and white landscape photographs of areas near the Shulz family home in Delavan, Wisconsin. Loose photographs portray Adolph frequently outdoors and several depict him sketching and painting. Other materials included are a handwritten description of a painting from September 24, 1917 and contact sheets and negatives of an unidentified scrapbook which contains sketches of multiple Shulz artworks. Three mounted black and white photographs of T.C. Steele paintings were stored inside of the photo album, and have been separated into an OVA folder.

The El Tendedero Indiana collection consists of one post-card sized box of community-generated response ballots to survey questions generated by Mayer. The ballots are separated into five subseries corresponding to five questions and further arranged by language (English and Spanish). The collection also includes one folder with printed ephemera and posters generated in advance of El Tendedero events around Indianapolis and an issue of the Indianapolis Recorder featuring a story about Women4Change legislative efforts. The El Tendedero Indiana collection was received with three oversize posters, a promotional t-shirt, and two red cardboard boxes which were used in the collection of community-generated response ballots; these have been (will be) photographed and deaccessioned. The collection also contains 1.8 GB digital material including digital ephemera, promotional material, and events photographs contributed by Women4Change and undated photographic documentation of past El Tendedero installations contributed by Mayer.

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 Garo Antreasian Study Collection was originally contained in four boxes, and was comprised primarily of original or xerox copies of published material. All publications were transferred to the IMA's Stout Reference Library to be cataloged individually as part of the "Garo Antreasian Study Collection." Archival material remained in the IMA Archives. Archival material includes Garo Antreasian's research notes, exhibition/workshop ephemera, correspondence, a John Herron Art School curriculum binder, and three mounted photographs. Sent with a letter from Bob Evermon of Cranbrook Academy of Art were test prints with annotations, which have been housed in OVB folders.

The IMA Alliance Records document the philanthropic efforts of the Alliance of the Indianapolis Museum of Art over the course of more than 50 years, through multiple retail initiatives, events like the Fine Arts Ball, and other activities. As a collection of original records produced by the Alliance, it chronicles the history and inner-workings of one of the most prolific fundraising groups in the United States. The collection has been organized into eight series described below.

The IMA Asian Art Society (AAS) Records document the efforts of the AAS to help grow the IMA’s Asian art collection through donations and funding acquisitions. It also details the Society’s efforts to interest and educate members and the public about Asian art through lectures, speakers, and trips.

The Contemporary Art Society (CAS) records document the group ’s efforts to bring greater awareness and interest to contemporary art since the group’s founding in 1962. CAS members were often invited to travel to art museums and galleries across the U.S. and abroad. Member funds were used to procure contemporary art acquisitions. CAS frequently hosts lecturers, artists, and other speakers, as well as arranging local visits to art museums and artist studios.
Due to the small amount of material in this collection it has not been divided into series. Due to privacy concerns, half of the collection is restricted to access by IMA staff and members of the Contemporary Art Society at the discretion of the archivist. The detailed box inventory below indicates which materials are open and which are closed. Instead, like materials were grouped together and then arranged chronologically. In Box 1 you will find materials related to ephemera, trips, lecture invites and reminders, affiliate orientation manual, and membership materials. Housed in the second box are member lists, directories, dues statements, acquisitions voting, and Resource Committee agendas. You will also find the information, evaluations, or materials CAS created with the help of Trustee Leadership Development in 1999. During that time, CAS re-evaluated their mission statement, mailed out member surveys, and held meetings to decide what they wanted for their organization’s future.
This collection includes thirteen binders. The first twelve are the binders of past presidents of CAS and are arranged chronologically by president. Binder 13 includes material related to membership. The binders contain a variety of minutes, correspondence, notes, study group plans, speaker invites, schedule of events, financial records, etc. Also included may be trip planning notes, member lists, or news clippings.