La Bouche du Roi was created by artist Romauld Hazoumé, who lives and work in the Republic of Benin, West Africa. The multi-media artwork is named after a place on the coast of Benin from where enslaved Africans were transported. It comprised 304 plastic petrol can 'masks', each representing a person, arranged in the shape of the woodcut of the Liverpool slave ship Brookes. The aroma of tobacco and spices are represented alongside the terrible smells of a slave ship. The artwork was accompanied by a film showing the motorcyclists who transport petrol illegally between Nigeria and the Republic of Benin. The cans and motorcyclists are metaphors for modern forms of enslavement and resistance. First exhibited at the British Museum in London, La Bouche du Roi toured to the following venues during 2007-9: Ferens Art Gallery in Hull, International Slavery Museum in Liverpool, Bristol's City Museum and Art Gallery, Laing Art Gallery in Newcastle, and the Horniman Museum in London.

Truth 2007 was an educational and information resource-based initiative that was instigated in Bristol by (Operation) Truth 2007 led by Jendayi Serwah. It became a national coalition of UK-based Pan-African organisations which aimed to raise the awareness of the African perspective on local and national government plans to mark the bicentenary. Truth 2007 featured a series of lectures, debates, interactive workshops and informal social-political gatherings organised by community groups. The Truth 2007 coalition expressed dissatisfaction with much of the terminology and focus of the 'official' commemorations.

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.

Two plays, Slave Ship by Amiri Baraka and Land by Edson Burton, were presented in Bristol by Say It Loud, a multicultural arts development organisation. Slave Ship was first performed in the United States in 1967. Land was written especially for the bicentenary project. In conjunction with the project, Say It Loud organised drama workshops on the subject of slavery in Bristol schools.

The official publication from the British Government in response to the bicentenary included a message from Prime Minister Tony Blair. It set out the history of transatlantic slavery and resistance to it, and featured a calendar of upcoming events for 2007 relating to slavery and abolition. The publication also detailed contemporary efforts to end modern slavery. Later in 2007, 'The way forward: bicentenary of the abolition of the Slave Trade Act 1807-2007' reflected on some of the commemorative activity that had taken place in Bristol, Hull, Liverpool, London and Greater Manchester. With a foreword by the new Prime Minister, Gordon Brown, the theme of the publication was 'Reflecting on the past, looking to the future' and it linked efforts for the abolition of historical and contemporary slavery. The publication also looked to how to tackle inequality and poverty in the UK, Africa and the Caribbean.

M Shed opened in 2011 and is housed in a warehouse on Bristol’s dockside, a clear and tangible link to the history it interprets. The free-to-enter museum focuses on social history, exploring the development of Bristol as a city through people, places and daily life. It is a popular site, attaining over half a million visitors per year since 2013.

Through this local viewpoint, the museum explores Bristol’s involvement with the transatlantic slave trade and the abolition movement in its ‘Bristol People’ gallery which aims to ‘explore the activities past and present that make Bristol what it is.’ Voices from all factions of the slavery debate feature in the display, with proslavery, the enslaved, particularly those who fought for emancipation, and abolitionists all interpreted within dedicated cases. Each case contains a mix of objects, archive materials and text panels to tell the story. Quotations from key figures also bring to life the voices of those who were personally involved: for example, John Pinney, a plantation owner and sugar agent; Hannah More, a writer and Abolition campaigner; John Kimber, a slave ship captain accused (and acquitted) of murder; Silas Told, an ordinary sailor on slaving voyages. These Bristolian voices give different perspectives on how those involved in the trade saw it at the time. Quotations printed around the gallery also provide the views of today’s visitors to the trade. The exhibition also has sections about the legacies of the slave trade within Bristol, particularly in relation to the representation of African or Afro-Caribbean communities in popular culture, the presence of racism in the city, and the legacies of prominent slave owners in some of Bristol's public institutions.

The theme of antislavery also features as the starting point for a display on public protest movements. One case focusses on Thomas Clarkson’s visit to Bristol to collect information against the trade, another on the campaign to abstain from slave-produced sugar in the 18th century and the Bristol bus boycott against racist employment practices in the 20th century. This display then goes on to look at other popular campaigns and protest movements including women’s suffrage, riots, strikes and the Occupy movement. This perspective, situating the abolition campaign as the beginning of a British tradition of society campaigning, is a unique one across UK museums.

In the Bristol Life gallery, the stories of two Black Bristolians look at the new life for the runaway enslaved man, Henry Parker, and the Windrush generation Princess Campbell.

The Georgian House was built in around 1790 for a plantation owner and sugar merchant named John Pinney (1740-1818), who settled in Bristol when he left Nevis. Two black servants, one bought as a child, the other born on Pinney’s Nevis plantation, also lived and worked in the house: Pero Jones (c.1753-1793) and Fanny Coker (1767-1820). Fanny had been given her freedom at the age of 11, Pero remained enslaved.

The House was presented to the city in 1937 and Bristol City Council has operated the site as a period-house museum since 1939. Rooms are open to visitors across four floors, and it is divided into life above and below stairs. Life above stairs features rooms such as the Dining Room and Drawing Room across the upper three floors, while life below stairs has the kitchen and housekeeper’s rooms in the basement. Information cards provide details about the objects within the rooms including furniture and paintings, and some information on the people who lived there. It is located in central Bristol near the University and Cathedral.

On the second floor there is a small 2D exhibition, in a room next to the bedroom, giving information on the family, the Nevis plantations, and the black servants. Panels have been present in the room since the 1990s, but they were updated and re-installed in April 2018. A large board features the names of the known enslaved people on the Pinney plantations over 200 odd years, and a graphics panel covers nine topics including Bristol and Slavery, John Pinney, Pero Jones, Fanny Coker, Hard Labour and Resistance. They connect the site, and city, to Transatlantic Slavery, through the stories of individual people.

In addition to this display there are implicit and explicit references to slavery throughout the house. Slavery is included on the introductory board and first information card on John Pinney. There are also objects, particularly downstairs, including a sugar cone in the larder and a newspaper discussing the slave trade on the kitchen table. Further audio and information is planned to be added at the house, which will tell more about the slavery connections of the family and house.

A group of Bristol Film and Video Society members wrote Clarkson, a 40 minute drama based on the life of the abolitionist Thomas Clarkson. The character study is set in Bristol in 1787, around the time that Clarkson was visiting English ports gathering evidence about the brutalities of the slave trade.

Our History, Our Heritage was a black-led Bristol group promoting historical awareness of the contributions of African, African-Caribbean and British peoples in past and present struggles, and in Bristol in particular. Their series of talks and educational initiatives sought to encourage 'creative education in Citizenship and British, Afrikan, Afrikan Caribbean History', taking inspiration from 'those who have gone before'.

A play by the Malcolm X Elders Theatre Company in Bristol, addressing issues of age, identity and heritage.