‘Bromley’s Hidden History’ was led by Bromley Museum, with assistance from Bromley Local Studies and Archives. A touring exhibition, education pack, programme of events and web resources were produced to highlight Bromley’s connections with slavery and abolition. Bromley slave owners and those with capital invested in the Caribbean were highlighted, alongside the influence of William Pitt (who lived at Holwood House) and his political circle in the abolitionist campaign. Consideration was also given to historical black figures living in the borough, such as the actor Ira Aldridge.

Human Cargo was a partnership project between Plymouth City Museum and Art Gallery, and the Royal Albert Memorial Museum, Exeter. The project consisted of two main components. The first was a historical exhibition, which explored the development of the transatlantic slave trade and, in particular, the role of Plymouth as a port, the involvement of the City's dignitaries and the South West's links with the abolition movement. The second part was a contemporary art response to modern forms of slavery and historical legacies, including the flower picking trade, sweatshop labour and the Fair Trade Movement. This work was newly commissioned and included audio visual pieces, installations, hand-printed wallpaper and participatory objects. A variety of events and activities took place alongside the exhibition including education workshops, performances, African music and storytelling activities, and Elizabethan House re-enactment sessions.

Action of Churches Together in Scotland (ACTS), which brings together nine Scottish denominations, marked the bicentenary with the Scottish Ecumenical Service to commemorate abolition held in the David Livingstone Centre in Blantyre in June 2007. The group also published a leaflet, ‘Slavery and Scotland’. On 25 March 2007, a commemoration walk was organised in partnership with the National Trust for Scotland. The walk started in Musselburgh and ended at the Gardens of Inveresk Lodge, once owned by James Wedderburn, who made his fortune as a slave owner in Jamaica. His son, the Jamaican-born Unitarian radical and anti-slavery advocate Robert Wedderburn, came to Musselburgh in 1795 to visit his father, but did not receive a good welcome.

ACTS also set up Freedom for All, a website project to mark the bicentenary. The website was intended to be a hub of resources and information on the impact of slavery, slave trade and abolition on Scotland.

Slavery here! was a project hosted by museums across the Tees Valley led by Preston Hall Museum. It featured an interactive exhibition to explore the story of the Tees Valley’s connections with slavery. For example, the town of Stockton-on-Tees had its own Sugar House, a refinery that processed sugar from the Caribbean. The exhibition also looked at the work of local abolitionist campaigners Dr Robert Jackson and Elizabeth Pease, and the impact of contemporary slavery on today's society. Alongside the exhibition at Preston Hall Museum, other special events included workshops on African drumming and culture, object handling, and introductions to Fair Trade products. The project also produced a commemorative quilt (in collaboration with Newtown Community) and a film, ‘Manacles and Money’.

Students at Presentation College, Bray, Ireland explored the issue of contemporary slavery and created a mural to raise awareness about the different forms of slavery that exist today. They then planned a workshop to present their work to their peers and parents about these issues. The mural has traveled around Ireland inspiring others to engage with the fight against contemporary slavery.

This piece of art by Hank Willis Thomas is based on the Brookes slave ship image which was made famous by the British abolitionist campaign against transatlantic slavery. The artist said of the piece that “Racism is the most successful advertising campaign of all time... Africans have hundreds if not thousands of years of culture. Having all of these people packed into ships and then told they’re all the same, reducing them to a single identity—that’s absolute power.”

The image promotes the work of the Bakhita Initiative which is the Roman Catholic Church in England's response to the issue of contemporary human trafficking. The key stakeholders of the Bakhita Foundation are the Catholic Bishops' Conference of England and Wales, Caritas Westminster, and the Metropolitan Police. The image depicts Josephine Margaret Bakhita, F.D.C.C., (ca. 1869- 8 February 1947). Josephine was born in Darfur, Sudan. She was kidnapped into slavery as a girl in c.1877. In 1883, in Khartoum, Bakhita was purchased by the Italian Vice Consul Callisto Legnani. Bakhita eventually left Sudan with the family. She was taken in by the Canossian Sisters in Venice and refused to rejoin the Legnani family. On 29 November 1889 an Italian court ruled that Bakhita had never been legally enslaved because Sudan had outlawed slavery before her birth and because slavery was not recognised under Italian law. She became a Canossian sister and lived and worked in Italy for 45 years. She was eventually made a saint and has been adopted as the only patron saint of Sudan.

In the Recovered Histories online resource, Anti-Slavery International digitised and made accessible for the first time a collection of over 800 pamphlets dating from the 18th and 19th centuries relating to the transatlantic slave trade. The resource captured the narratives of the enslaved, the enslavers, slave ship surgeons, abolitionists, parliamentarians, clergy, planters and rebels. An accompanying touring historical exhibition and an education pack featured testimonies and pictures from Africans subjected to slavery, those participating in the enslavement and those who fought against it. An outreach and resources programme included a series of free regional seminars in April and May 2008, which encouraged dialogue about the transatlantic slave trade and its legacies by bringing together a wide range of groups and organisations who worked on these issues. The workshops were held in Bristol, Edinburgh, Leeds, London and Manchester. A series of short stories were published, inspired by the Recovered Histories resource.

Antislavery International commissioned poster. By foregrounding international currency symbols the image draws attention to the relationship between slavery and capitalism.

The Be Her Freedom campaign is part pf the A21 movement which comprises of individuals, organizations, government officials, and members of the public who are committed to abolishing injustice in the 21st century. The image replaces the shackled pleading hands of past antislavery campaigns with a clenched fist - a symbol of self-determination and self-liberation.

This image depicts 'Jadawati, a weaver, she is working on a 24 feet carpet which will take her nearly 40 days to complete. As a bonded labourer, she is paid 60 rupees a day, a rate nearly half the minimum wages entitled to her as per the law. The carpet that might sell for 25,000 rupees or more will have earned Jadawati less than 2,500.' The composition of the image gestures towards a sense of imprisonment; the woman is visible behind the fabric weave which acts as an intricate prison. As the rug fabric moves towards completion the figure of Jadawati slowly disappears behind the pattern, as the object of consumption obscures the human cost of production.

Campaign by the United Nations to bring an end to child labour. The hand-prints reaching out gesture towards the absent child and in doing so resists a common trope within humanitarian campaigns - relying on images of the suffering child to evoke sympathy.

Each day, children make several trips down the mountain, delivering stones from higher up in the Himalayas. They use makeshift harnesses out of ropes and sticks, strapping the stones to their heads and backs. Many of them come from families where everyone is trapped in debt bondage slavery. One of the mothers describes what it was like to be in slavery, “Neither can we die, nor can we survive.”

Entire families are in bonded labor slavery. Often, families get a loan for an emergency or to pay a broker a fee for getting hired on a new job. Slaveholders, the only people near with any money to lend, trick the borrowers into slavery through illegal, exorbitant interest rates that are impossible to repay. Children inherit the bogus debt from their parents. Generations of families have been enslaved for a loan of just $18.

Indira works in a granite quarry near Katmandu. She is 7 years old. The granite is sent to Britain to provide stone tiles for patios. Children are paid the equivalent of 25 cents a day to perform tiring and dangerous work with little or no safety gear. Approximately 32,000 children in Nepal work in stone quarries. Some are as young as 5 years old Many work besides their parents who are in debt bondage with little hope of escaping. Some live at the work site which is watched by guards who forbid them from leaving. The children are forced to perform hazardous jobs and if they refuse the employer withholds food from the family. Eradicating child labor from Nepal is difficult because it is fundamental to the economy. This mural was painted in conjunction with the 6th Annual Welling Court Mural Project in Astoria, Queens. It is located on 12th Street in between Welling Court and 30th Rd.

'House Slave - Field Slave: A Portrait of Contemporary Slavery' by Nicola Green was first exhibited at the Dulwich Picture Gallery in October 2007. It was then exhibited as part of Haringey's Black History Month at Bruce Castle Museum in October - December 2010. Nicola's triptych is now in the permanent collection at the International Slavery Museum in Liverpool.

Nicola Green's portrait of contemporary slavery 'House Slave - Field Slave' was made for and in collaboration with Anti-Slavery International to commemorate the anniversary of the abolition of the slave trade in 2007. The exhibition consists of a large 'altarpiece' scale triptych with preparatory studies. These are set alongside artefacts of contemporary slavery from the International Slavery Museum in Liverpool and the extraordinary photos and text from Anti-Slavery International, which inspired this work. The painting tells the story of contemporary slavery. There are an estimated 12 million people in the world today who are still enslaved - even though the British slave trade was abolished 200 years ago.

The Scarlet Cord by Pamela Alderman is an installation that examines child sex slavery. Her website describes it 'As visitors step inside a 40-foot storage container filled with thirty doors, they enter a secret world. This dark world crosses religious and social economic borders to sell our children for sex. The twisting scarlet cord depicts the trauma bond that connects the children to their traffickers. The weathered doors represent these abused children whose youthful minds have become knotted. Alderman’s art—dedicated to these suffering children tethered within the sex industry—calls for compassionate action.'