A nineteenth-century monument celebrating the philanthropic efforts and commitment to social reform of the Quaker abolitionist Joseph Sturge was restored from a state of disrepair in 2007 as part of Birmingham's bicentenary commemorations. The monument, sculpted by John Thomas, was first unveiled in 1862 by the city's nonconformist religious leaders and local businessmen to celebrate Sturge's legacy. The restoration work was carried out with funding from Birmingham City Council, The Birmingham Civic Society and the Sturge Family. A rededication service took place on 24 March 2007.

Open since April 2018, the Legacy Museum is built on the site of a former warehouse where enslaved Africans were imprisoned. The site is located between an historic slave market and the main river dock and train station where tens of thousands of enslaved people were transported through at the height of the domestic slave trade. Today it is a short walk from the National Memorial for Peace and Justice in the heart of downtown Montgomery, Alabama. The museum’s mission is to acknowledge and present the legacies of slavery, lynching, and racial segregation in the United States. The Legacy Museum is used to educate people about long-standing racial inequality in America and prompt them to search for truth and reconciliation with the aim of developing real solutions to contemporary problems. Its managing organisation, the Equal Justice Initiative, was founded in 1989 by Bryan Stevenson and was initially set up to help the poor, the incarcerated, and the condemned. In continuing this spirit of active community engagement, the museum also runs concerts and academic summits, and actively participates in human rights campaigning in Alabama.

The museum exhibition begins by showing replica constructions of slave pens, accompanied by unique audio and visual effects, attempting to allow visitors to empathise with an imprisoned slave waiting to be sold at the nearby auction block. There are also first-person accounts from enslaved people, portrayed on film by actors. Alongside these audio-visual experiences there are also more traditional exhibits that examine America’s history of racial injustice and its legacy, drawing connections across generations of Americans impacted by racial difference. These exhibits feature artefacts and archival materials. The museum also includes pieces of contemporary art, commissioned with creative partners to depict contemporary responses to the ongoing legacies of slavery and racial inequalities.

The museum is located on Gorée Island, 3 km off the coast of Senegal. The structure was built in 1776 as a holding centre for Africans waiting to be exported across the Atlantic. It was converted into a museum and memorial in 1962. According to the original curator of the museum, Boubacar Joseph Ndiaye, the island played a pivotal role in the containment and transportation of slaves to America during the transatlantic slave trade. The aim of the museum and memorial is to help its visitors come to terms with the extent of the transatlantic slave trade and the effects of the trade on Africa and its people. It was designated a UNESCO world heritage site in 1978.

The content of the museum includes murals and artwork showcasing traditional African techniques, and depicting the process of enslavement. There is also a variety of objects such as chains, manacles, and cages which emphasise the brutal nature of slavery. The site itself is accessed via a ferry and the tourism industry of nearby Dakar is linked closely with the island. The key voices addressed within the museum are those of the enslaved; the museum brings visitors into close approximation with the living conditions faced by the enslaved during the transatlantic slave trade. One of the most poignant features is the 'Door of No Return' which is said to be the point where enslaved Africans were boarded onto ships ahead of the Atlantic voyage.

The memorial was founded after human remains were discovered underground by city workmen who were attempting to build some government offices in the 1990s. The remains belonged to enslaved Africans who were building New Amsterdam (present day New York). The African Burial Ground National Monument honours these Africans’ memory, having reburied them in a more respectful manner. It is the oldest and largest known excavated burial ground in North America for both free and enslaved Africans. A 'sacred space in Manhattan', the mission of the memorial is to acknowledge New York's involvement with slavery and the slave trade to provide a respectful and symbolic space for the reinternment of the African remains found at the site.

The facilities at the centre include a range of exhibits, a twenty-minute film and a book/gift shop. In addition, the memorial also offers on-site presentations in the visitor centre consisting of an hour long programme. The memorial is managed by the National Park Service and the U.S Department of the Interior.

The process of memorialization and the research conducted about the enslaved African skeletal remains was negotiated extensively between the General Services Administration, the African American descendant community, historians, archaeologists, and anthropologists. Civic engagement led to the ancestral remains reinternment within the original site of discovery. An external memorial, an interpretive centre, and research library were constructed to further commemorate the financial and physical contributions of enslaved Africans to colonial New York, and to honour their memory. The exhibits examine the history of the initial discovery, the research conducted to identify the remains, the documentation process and associated artefacts.

Widely claimed to be the first museum in America to solely address slavery, the Whitney Plantation is a plantation estate, museum and memorial outside New Orleans, on Louisiana's famed River Road. During the eighteenth and nineteenth centuries, the plantation was home to the Haydel family, and their enslaved workers. The site was bought in 2000 by a retired lawyer, John Cummings, who funded the renovation and redevelopment of the site, which opened to the public as a museum in 2014. On arrival, visitors must join a guided tour to see the majority of the site, but the museum is open to all.

On the property visitors will find a range of exhibits, including the Mansion House, slave quarters, a blacksmith's shop and a Baptist church. There is also a 'Wall of Honour' which features the names of all those enslaved at the plantation, as taken from the site's archives. In addition, there is a sculpture installation created by American artist Woodrow Nash called 'The Children of Whitney,' that seeks to remind visitors that slavery affected children as well as adults.

The site houses a significant collection of artefacts too. These range from plantation tools and house furniture. There is even the largest collection of sugar kettles in the whole of Louisiana. Much of this collection has been purchased at auctions around the USA, in a bid to redisplay the site as it was during the antebellum period. There are three archaeological sites which also contribute collections of material linked to the lives of the enslaved themselves. All of this provides visitors with a unique perspective of plantation life, and helps to break down the ignorance still surrounding histories of American enslavement.

The Prestwich Memorial opened in 2008 as an attempt at resolving a protracted and sometimes unsavoury dispute sparked in 2003 when a property developer discovered human remains in central Cape Town whilst digging the foundations for an apartment complex. These remains were likely those of the colonial working classes, buried in the many unmarked eighteenth and nineteenth century graves. For certain activists, the remains were identified as those of their enslaved ancestors. A dispute began between people opposing exhumation on the grounds of respect for ancestors, versus those who advocated exhumation owing to the unprecedented opportunities offered to furthering historical and scientific knowledge. Following a public consultation process, the bones were exhumed, but were not subjected to analysis.

The memorial was constructed on behalf of the City of Cape Town municipality to house the remains, and provide an exhibition space to explain the affair. The opening of an artisan coffee shop named Truth in the memorial building in 2010 however created further contestations on the grounds of taste and respect for the dead.

The memorial features a number of fixed interpretation boards which explain the colonial burial system, the unmarked cemeteries beneath the modern city, and the type of people likely to have been buried in them. Enslaved people, of course, feature in this number. The bones themselves are situated in an ossuary area, accessible by a low entrance. They are separated from the public by a wooden gate. Whilst research applications to study the bones are invited, no applications have been accepted at the time of writing by a panel including stakeholders from various sides of the exhumation debate.

Spier is a wine estate, situated east of Cape Town close to Stellenbosch. It was founded in 1692 and, as with the majority of South African wine farms of a similar age, its early labour force rested on enslavement. Spier was one of the first wine farms to develop itself as a tourist attraction during the 1960s and 1970s, reflecting a shift in the Winelands economy from just the production of wine. Presently, Spier offers visitors a number of restaurants, wine tasting, conferencing facilities, accommodation, a market, and a variety of estate tours including by Segway. Historical features have been preserved and form part of these tours.

Spier is quite open about its past involvement in slavery. The 1825 slave bell has been restored and is highlighted on the audio tour of the estate. In 2012, an art piece named ‘The Dying Slave’ was designed by the South African artist Marco Cianfanelli and installed at the base of the hotel car park at Spier. This large and imposing structure consists of nine columns which, when the viewer stands at a distance, combine to produce an image which was inspired by Michelangelo’s image of a ‘Dying Slave’.

More obvious local connections with slavery are evident in the ‘Gables' audio tour launched in 2012. This is narrated by a fictional enslaved woman named Sannie de Goede and set in 1836 on the eve of the ending of the apprenticeship period. Using the smartphone app VoiceMap, the narrator guides the visitor around the estate, drawing attention to historical features from the perspective of someone who was forced to work on the estate. Written by playwright Brett Bailey, it should be viewed as part of a genre of historical fiction including works such as Yvette Christianse’s Unconfessed which seek to fill gaps in the colonial archive by reimaging the voices of enslaved women.

Elim Heritage Centre was opened in 2009 in the Moravian mission village of Elim. Situated in the former mission store, it relies on funding from a grant by SAN Parks which permits a modest salary for its sole member of staff. Elim was established in 1824 and, in common with other mission stations in the area, saw an influx of newly freed people following the end of the post-abolition apprenticeship period in 1838. The centenary of the ending of the apprenticeship period in 1938 was marked in Elim by a monument situated across the road from the Moravian Mission Church. A feasibility study for an Elim offshoot of UNESCO’s Cape leg of its Slave Route project in the late 1990s revealed that many Elim residents were unaware about their slave heritage. Although the feasibility study did not amount to a longer-term UNESCO project, the undertaking did encourage interest in slave history in Elim. The 1938 monument was rededicated in 2004, and the Heritage Centre’s foundation can be traced to the feasibility study. As well as featuring as a community repository including donated trade and home objects, photographs, and clothing, its collections include a series of display panels created by the Slave Route feasibility study.

The Heritage Centre’s displays are modest and consist mainly of photographs pinned to display boards. There is little on slavery itself, although one primarily photographic panel shows a clear pride in the 1938 memorial and the way in which it has functioned as a form of remembering slavery over time in Elim. Reference is made to 1 December Emancipation Day as a way of reconnecting with ancestors. Another display details the genealogical origins of Elim, giving the names of early settlers among whom formerly enslaved people are clearly evident. The Slave Route display panels are not on open display. Indeed, it is the behind the scenes work of the curator where the Heritage Centre’s connections with slavery become more apparent. It holds substantial church records, and the curator assists with genealogical enquiries from around the world, including from people researching their slave ancestry.

Solms Delta is a wine estate, situated east of Cape Town in the heart of the Cape Winelands. It was founded as Zandvleit in 1690, with the name change coming in 2002 after purchase by University of Cape Town-based neurosurgeon Mark Solms who wished to distinguish it from other farms with the same name. As with the majority of South African wine farms of a similar age, its early labour force rested on enslavement. Solms approach to farm ownership has seen him attempt to eschew the well-worn white owner/black worker relationship by launching a socio-economic reform project. Money has been invested in new housing featuring satellite television, whilst an education project both for workers and their children has been established. Social enrichment activities based around music, sports, and performance have been encouraged in an attempt to improve the traditionally poor socio-economic circumstances of the workers, many of whom live on the estate just as their ancestors did. Solms has explained in interviews that this refreshed approach to wine farming arises from a perceived responsibility to acknowledge his own life privileges as a white South African. Crucially, workers have been given shares in a land equity scheme.

Solms Delta hosts two museums. One of these, named Museum van de Caab with deference to Cape slave naming patterns, opened at the same time as the estate opened to the public in 2005, with a music museum opening in 2014. Acknowledgement of the past as a means of understanding how workers have been exploited over time is a crucial part of Solms’ project. Slavery is referenced in both museums, with songs as evidence of slave culture appearing in the music museum. In Museum van de Caab it forms a fundamental part of a general farm history which traces the story of the land to the origins of humankind. A memorial feature occupies a prominent position in one of two galleries, detailing the names of every person revealed by archival research to have been enslaved on the estate. Guided museum and estate tours are available, conducted by estate workers.

The Wilberforce Institute for the study of Slavery and Emancipation (WISE) was officially opened in Hull in 2006 in anticipation of the city's bicentenary commemorations. The University of Hull research centre specialises in researching the history of slavery, while also examining contemporary slavery and human rights abuses in the present day. The patron of the institute is Archbishop Desmond Tutu and the institute was opened by then President of Ghana, John Agyekum Kufuor. The WISE Humanitarian Wall commemorates historical and contemporary figures in the struggle against slavery, including Olaudah Equiano, Harriet Beecher Stowe and Nelson Mandela.

The sculpture Blue Earth 1807-2007 by African artist Taslim Martin was permanently installed in the newly updated African Worlds Gallery at the Horniman Museum in 2007, to mark the bicentenary. The large iron globe, inscribed with the 18th century image of the slave ship Brookes, traces the routes along which enslaved Africans were transported to the New World, alongside the movement of the products of enslaved labour. The major British ports of Liverpool, London and Bristol are depicted, as well as ports in West Africa and some of the destination ports in North America, the Caribbean and South America. Visitors are encouraged to spin the globe to view slave routes across the world. In 2007-2008, the Horniman Museum also hosted 'La Bouche du Roi' by Romuald Hazoumé.

After 1825, on leaving Parliament, William Wilberforce retired to Hendon Park in Mill Hill, North London, and during his retirement built a chapel on his estate, now St. Paul's Church. St. Paul's organised a programme of events in 2007 to mark the bicentenary, including concerts by The London Community Gospel Choir and The St. Ignatius Gospel Choir. A series of exhibitions in London Borough of Barnet libraries explored Wilberforce's local connections, and visits to local schools encouraged pupils to express their understanding of slavery and abolition in art, and stressed the need to continue the work of abolitionists today. The programme also included a number of open public meetings with invited speakers exploring different aspects of Wilberforce's life and work, including his collaborations with Thomas Clarkson and John Newton. In 2008 the Wilberforce Centre was opened in the crypt space of St. Paul's.

In 2007 Westminster City Council supported a programme of events in the libraries, galleries and archives of the area, including films, walks and exhibitions, designed to provide opportunities to learn about the culture of Westminster's communities. Highlights included guided heritage walks with historian S. I. Martin, exhibitions of images from the Royal Geographical Society in Paddington Library, Maida Vale Library and Westminster Reference Library, and film screenings (in partnership with 100 Black Men of London). A partnership between the City of Westminster Archives Centre, Tate Britain, Parliamentary Archives, National Gallery and National Portrait Gallery produced a heritage trail 'On the Road to Abolition: Ending the British Slave Trade', which takes in key sites, events and individuals in Westminster relating to the slave trade, between Trafalgar Square and Pimlico. In celebration of Black History Month, Westminster City Council produced a booklet, 'Black History in Westminster', detailing some of the borough's influential Black residents.

Abney Park is a non-denominational cemetery in Stoke Newington, London. The walking tour Abolition Voices from Abney Park was developed to highlight the individuals connected with the abolition of slavery buried there, including the Baptist missionary Reverend Thomas Burchill (associated with Samuel Sharpe and the 'Baptist War' in Jamaica), Reverend Newman Hall and Reverend James Sherman (both associated with abolition in the USA). The grave of Joanna Vassa, daughter of Olaudah Equiano, was identified and restored. The monument to Joanna Vassa was designated Grade II listing by Historic England in 2008 as part of the bicentenary commemorations. There were accompanying talks and school workshops. Abney Park Cemetery Trust was also responsible for the carving of a new memorial stone for the writer Eric Walrond.

The Abolition of Slavery Quilt was created to commemorate the bicentenary by the Freedom Quilters of Wisbech, a community group with an interest in patchwork and quilting. The quilt is made of several panels, one of which depicts the Thomas Clarkson memorial in Wisbech town centre; other panels stress the link between Christianity and the abolition of the slave trade. It was displayed at Wisbech Baptist Church at the Annual Rose Fair in July 2007. The Rose Fair Flower Festival raises money for charity, and in 2007 had a theme of 'Heroes of Freedom'. The quilt was also loaned to Peckover House, a National Trust property in Wisbech. It remains on display at Wisbech Baptist Church.

The Buxton Memorial Fountain was built by Charles Buxton to celebrate the Slavery Abolition Act of 1833 and the achievement of his father, the abolitionist Thomas Fowell Buxton, and his associates who led the parliamentary campaign to abolish slavery. The memorial fountain was built in Parliament Square in 1865-6, and re-erected in Victoria Tower Gardens, Westminster, in 1957. Following extensive restoration by The Royal Parks, the memorial was unveiled on 27 March 2007, to mark the bicentenary. The listed monument was also upgraded from Grade II to II* in 2007.

The Sites of Memory project was the first research by English Heritage (now Historic England) to provide an overview for the public of the buildings, memorials and grave sites across England that reflects the role of the slave trade in British history, and resistance to it. The project explored the history of Black people in Britain during the 18th and 19th centuries by exploring the stories behind the historic built environment of local streets, buildings and landmarks. The research (by historians Angelina Osborne and S. I. Martin, on behalf of English Heritage) also identified sites associated with the slave trade and plantation wealth, and with the abolitionists who campaigned for an end to slavery. English Heritage also made recommendations for new listings for historic sites that mark the Black presence.

William Wilberforce was a pupil of Pocklington School near York for five years, 1771-1776. In 2007 the School erected a full size bronze sculpture of Wilberforce as a school boy. The statue and memorial plaque were unveiled in September 2007 by the Archbishop of York, Dr John Sentamu.