Woodrow Nash created a mural for the Odom Branch Library in the 1970s, depicting the antislavery leader Frederick Douglass alongside Martin Luther King Jr. and Malcolm X. In 1999, the library was remodelled and expanded to around 12,000 square feet. With the expansion came two new murals about black history. The original mural was edited – this time to incorporate the antslavery leader Sojourner Truth. By adding Truth to the mural, Nash was trying to reflect the contribution of women to the liberation struggle.

Ed Trask, a Richmond-based muralist, created this mural in 2011 at the Seven Hills School in Richmond. It depicts the antislavery leader Frederick Douglass, as well as local figures Maggie Walker, Oliver W. Hill and Spottswood Robinson III. The other side of the building depicts Langston Hughes and W.E.B. Du Bois.

In 1990, this mural titled Nation of Islam at Charles Place in Brooklyn was created. The mural unites many radical figures of black history, including the antislavery leader Frederick Douglass, W.E.B. Du Bois, Elijah Muhammad, H. Rap Brown, Malcolm X, Marcus Garvey, Eldridge Cleaver and Bobby Seale. It has now been destroyed.  

Walter Edmonds memorialised Father Paul Washington of the Philadelphia Church of the Advocate, on the side of a building in the Strawberry Mansion district of Philadelphia in 1990. Father Washington was a prominent social activist in the area of Philadelphia.The creation of this mural is a good example of the call-and-response relationship generated by communities. After Walter Edmonds painted the mural Father Paul Washington, local residents were not satisfied with the likeness. As a result, Washington’s face was repainted by artist Stuart Yankell. Washington stands with arms outstretched surrounded by other local and famous heroes, including the antislavery leader Frederick Douglass.

This mural was created in 2008 by an unknown artist. Painted on a storefront on Ralph Avenue in Brooklyn, it depicted Harriet Tubman, Frederick Douglass and Nelson Mandela. As of 2014, it no longer existed.

In 2013, Rahmann Statik painted two murals on the sides of a building in Beauregard Town, Baton Rouge. The murals cover the entirety of the building’s façade and reads, “Free Your Mind” alongside an image of Frederick Douglass, whilst the likeness of Harriet Tubman decorates the other side of the wall. Statik grew up on the southside of Chicago, surrounded by murals, and trained at the American Academy of Arts before working with Gallery 37 to teach mural creation to children. As of 2014, the mural no longer exists.

In 2011, muralist Aniekan Udofia painted Bread for the City in Anacostia, D.C., close to the historic site of Frederick Douglass' house. The mural depicts Douglass in the younger, radical phase of his life, surrounded by doves and children, and the words “One People,” “One Community,” and “Building Together.” By 2016, the mural had been destroyed.

In 1933, Cletus Alexander, a student at Dayton Art Institute, submitted designs for a mural titled Frederick Douglass Inspiring the Youth of the Negro Race. Douglass is depicted as a biblical, Moses-like figure with flowing hair and a white beard, wearing traditional red and white robes. Towards the top of the mural are the words from Langston Hughes’ poem, Youth: “We have to-morrow, Bright before us, Like a flame, yesterday a night-gone thing, A sundown name, And dawn today, Broad arch above the road we came, we March!” At the time the mural was painted, it was housed in the MacFarlane Middle School building. After that building was destroyed in 2005, it was removed, restored, and is housed in the Dayton Art Institute.

In 1992, Selma Brown, Susan Cervantes and Ronnie Goodman painted images of the antislavery leaderes Sojourner Truth, Harriet Tubman and Frederick Douglass, as well as Mary McLeod Bethune, W.E.B. Du Bois, and Thurgood Marshall, at Ingleside Presbyterian Church and Community Center in San Francisco, California. The mural, titled The Great Cloud of Witnesses, was started by Revered G. when he pasted a single newspaper clipping of his hero, Muhammad Ali to the wall of the church gymnasium in 1980. Over the decades, the collage expanded to cover the entire gym, fellowship hall, stairways, hallways, bathrooms, basement and meeting rooms. The mural is multi-faceted and contains newspapers, magazine clippings, photographs, flyers, posters, prints, poetry and painted murals.

In July 1979, the city of Harrisburg saw a slice of its history on a wall at 610 Maclay Street. Painted under the direction of Toni Truesdale, the main theme of the mural was the history of the Underground Railroad in Harrisburg, along with a famous visit from Frederick Douglass and William Lloyd Garrison. In 1847, after both Garrison and Douglass returned from  speaking tours in England, the two abolitionists decided to travel to Ohio to speak. Meeting in Philadelphia and speaking at other Pennsylvanian cities along the way, Douglass and Garrison reached Harrisburg on August 7, 1847. Garrison felt the city was “very much under the influence of Slavery. I do not anticipate a quiet meeting.”  Garrison successfully finished his speech at the Dauphin County Court House to a full audience. But as Douglass reached the stage, audience members threw eggs. Douglass proceeded with his speech until he was interrupted by firecrackers. Someone also threw a stone at him. He observed that “the atrocious character of the proceedings is sufficiently palpable, and Harrisburg one day will be ashamed of it.”

Wilfred R. Stroud created this seven-panel mural in 1988 to be installed on the first floor of the Tubman Museum. It remains a signature piece in the Museum’s collection today. When the mural was being created, Stroud expained: “The purpose of this mural is to present a visual history of the black man and woman from the earliest times in Africa to the present times in America. The panels focus attention upon the impact of outstanding persons, and events that made a change in the lives and conditions of black people in particular, and the world in general.”  Stroud dedicated an entire panel to the topic of slavery. Harriet Tubman stands in the centre, holding a rifle and surrounded by other antislavery leaders: Sojourner Truth, Abraham Lincoln, Frederick Douglass and John Brown. 

In 1989, muralist Alfred Smith painted a mural in Anacostia, D.C., near Frederick Douglass’ residence during the last years of his life. It depicted the silhouette of Douglass alongside scenes from a labour protest. The mural, titled The Dignity of Work, contains a quotation from a speech by Douglass in 1888 before the International Council of Women. The mural had been destroyed by 2016.

In 1972, artist LeRoy Foster created this mural for the Douglass Branch of the Detroit Public Library. The mural depicts a meeting between Frederick Douglass and John Brown that took place on March 12, 1859, seven months before Brown’s raid on Harper’s Ferry. The mural contains three likenesses of Douglass in various stages of his life – the most prominent being the shirtless figure in the centre of the mural. The second largest figure of Douglass portrays him with the leonine, statesmen persona that he embodied later in his life. Finally, the smallest Douglass likeness is the seated figure speaking with John Brown. This small scene marks a pivotal moment in Douglass' life. In 1859 he had to make the decision between fighting with Brown (embodying the chain-breaking version of himself in the mural), or surviving to become a political leader. Choosing not to take up arms at Harper's Ferry, an attack that led to the execution of Brown for treason, Douglass chose the elder statesman person - and lived to 1895.

This mural was created in 2012 by Munir D. Mohammad for the Rhode Island Black Heritage Society, one of the oldest African heritage organisations in the country. Titled The Shoulders of Heroes We Lean On, the mural depicts giants of black history, including the antislavery leader Frederick Douglass, as well as the silhouettes of athletes, musicians and scholars.

In 2011, the Puffin Foundation commissioned Mike Alewitz to paint a mural for the Puffin Gallery of Social Activism that would be on display in the Museum of the City of New York. Completed in 2014, the mural is a tribute to the labour and social justice movements and contains four panels. It includes slave ships and depicts the antislavery leader Frederick Douglass, as well as Martin Luther King Jr., Coretta Scott King and Elizabeth Gurley Flynn.However after viewing the mural, the museum declined to display it. They requested changes that reduced the prominence of Martin Luther King Jr. and added the Women’s Christian Temperance Union.  Alewitz calls this a case of censorship and continues to campaign for his mural to be displayed.

In 2005, an anonymous artist painted a mural in Los Angeles that depicted many heroes of African American history. The faces of antislavery leaders Sojourner Truth and Frederick Douglass, alongside Muhammad Ali, Martin Luther King Jr., Malcolm X and Rosa Parks, lined the street. By 2015, the building had fallen into disrepair and the mural had been destroyed.

The artist St George completed this stencil of a young Frederick Douglass in 2013. It had been destroyed by 2017.

Painted in 1995 in San Francisco by artist Leboriae P. Smoore, this mural acts as a children’s textbook in the street, teaching about the antislavery leaders Harriet Tubman and Frederick Douglass, and other black figures: Carter G. Woodson, Mary McLeod Bethune, W.E.B. Du Bois, Ida B. Wells, and Jackie Robinson.

This mural was painted in the 1990s on the side of the Parkview Recreation Center in northwest Washington D.C. It depicts the faces of Thurgood Marshall, Mary McCleoud Bethune and the antislavery leader Frederick Douglass. In 2010 the mural was repainted and includes the same faces. 

Although sharing an address with the famous Wall of Respect, the Wall of Truth was different. Whilst the Wall of Respect exalted black role models, leaders and liberators, the Wall of Truth wove negative scenes of poverty, brutality and racism into the fabric of the urban environment. Rather than promoting racial pride, it highlighted racial disparities. “The intent on the opposite side [of the road] was that things had gone more militant,” muralist Eugene Wade explained: “more blackness was needed in terms of representing the Black Power symbol and the whole thrust of what was happening in the black community.” Wade notes that “people were getting angry and fed up, so what we were trying to do was implement the attitude and the mood."The Wall of Truth was a significantly larger mural than its Chicago neighbour, the Wall of Respect. It spanned the length of an apartment building, and wrapped around onto an adjoining wall. It contained nine separate narrative panels and was one of the first instances that a radical black past was visualised in the streets through the antislavery leaders Frederick Douglass and Nathaniel Turner, as well as Mary McLeod Bethune, W.E.B. Du Bois, H. Rap Brown, Stokely Carmichael, Marcus Garvey, Huey P. Newton, Fred Hampton, and Malcolm X.