In 2000, muralist Gary Mullen created a mural that depicts how abolitionist Fredrick Douglass learned to read. It is located in the city of Baltimore, where the abolitionist spent the formative years of his life as a slave, and where he taught himself to read. Titled Young Frederick Douglass’ Quest to Read, the mural was created  bring pride to the residents of the Latrobe Homes area of north Baltimore. After reading Narrative of the Life of Frederick Douglass, the story stayed with Mullen, and when asked by the Brentwood Village Initiative to propose a mural design, the story of Douglass’ life in Baltimore was the perfect subject. The panel scenes depict Douglass’ master, Hugh Auld, scolding his wife, Sophia, for assisting Douglass to read—an illegal act at the time; Douglass trading Sophia Auld’s bread to hungry white children in exchange for reading lessons; Douglass challenging children to write as well as he does; and 12 year-old Douglass discovering the meaning of abolition. Mullen created the mural to emphasise the importance of education to the African American community in Baltimore, and local residents have received it enthusiastically, “It’s not everyday you get a mural like this in your community,” committee organiser, Patrick Lee said.

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.

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.

In 1968, after the success of Chicago’s Wall of Respect in 1967, muralist Leroy White painted Wall of Respect/Up You Mighty Race in St. Louis, Missouri. The mural was self-sponsored. After seeing Chicago’s Wall of Respect in Ebony, muralists in St. Louis were inspired to create public art in the Carr Square area of the city. The mural was completed by a coalition of individuals from civil rights groups, including CORE, ACTION, and the Zulu 1200s. It displayed a pantheon of black heroes, including the antislavery leaders Frederick Douglass, Malcolm X, Martin Luther King Jr., and Marcus Garvey. The mural quickly became a hub of black activism—bringing together artists, performers and political figures in a series of concerts and rallies at the site. But it was vandalised during the 1970s, and its building was razed in the 1980s. 

Borrowing its name from the 1967 “Wall of Respect” of Chiacgo, muralists Ashanti Johnson, Nathan Hoskins and Verna Parks installed their own public artwork in Atlanta. The abolitionist Frederick Douglass is alongside Martin Luther King Jr., Malcolm X and W.E.B. Du Bois, with the North Star between them. Angela Davis and Muhammad Ali are also present. The mural was destroyed in 2007.

In 1970, John Pitman Weber of the Chicago Public Art Group created a mural on the wall of the Christopher Settlement House on the north side of Chicago. The mural faces a children’s playground in a predominantly white working-class area of the city and according to Weber, the neighbourhood’s anxiety regarding racial tensions in the community only emerged during the creation of the mural and related discussions with local residents. Working together, Weber and the local residents agreed that the racial concerns needed to be surfaced, and the mural would serve this purpose. It depicts narrative scenes across the wall, including daggers and guns held by both black and white individuals, black hands in handcuffs under the phrase “free all political prisoners,” (something that the Black Panther Party was pushing for in the 1960s and 1970s), and a black hand shaking a white hand under the faces of Frederick Douglass and the radical white abolitionist John Brown, who are both identified on the mural as Freedom Fighters. The mural had been destroyed by the late 20th century.

In 2006, muralist Joseph Tiberino, along with his sons Gabe and Raphael, painted Wall of Black Heroes for the African American Museum of Philadelphia. When creating the mural, the idea was to provide a portable piece of work that would later be housed in the streets. Measuring 4ft by 12ft, the mural was created on such a scale so as to provide the audience with the sense that the figures of history were life-size. The mural takes the audience on a historical journey, starting with a self-emancipating shackled slave, then moving to the abolitionists Frederick Douglass andHarriet Tubman, then Angela Davis and Malcolm X, Spike Lee, Paul Robeson, Louis Armstrong and Martin Luther King Jr. The mural is now on the side of the Municipal Services Building next to City Hall.

In 2012, Mexican muralist Luis Zarate created the mural Underground Railroad on Bay Street in Sodus Point, Wayne County in upstate New York. Sponsored by the Neighborhood Association of Sodus Point, the mural depicts the involvement of Sodus Point in the Underground Railroad of the 1850s. Captain George Garlock, who captained the ship Free Trader out of Sodus Point and picked up runaway slaves on his way to Canada, is depicted in the centre of the mural on the boat between the black antislavery leaders Harriet Tubman and Frederick Douglass. On July 14, 2012, a dedication ceremony revealed a plaque was mounted below the mural that reads: “This mural depicts a scene of the Underground Railroad. From stories passed down there were several safe houses in this area that were used to harbor 'Freedom Seekers.' These included the old Cohn Farm and the old Sodus Fruit Farm and what is now Maxwell Creek B & B and Silver Waters B & B. Sometimes a schooner, out of the old Sodus Point ore dock, would pick up slaves on its way to Canada."

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 2010 the Brooklyn-based muralist Jonathan Matas created a mural on Green Street in Ithaca under the Aurora Street Bridge. The 30 x 600 foot mural was approved by the Public Arts Commission and depicts Frederick Douglass and Harriet Tubman. “I think it’s a great introduction to our city,” Ithaca Planning and Development Director JoAnn Cornish said. But this was not the general consensus around the mural. The name, 'Comrade Tubman' given to Harriet Tubman on the mural has been a point of controversy for the local community. Tompkins County historian and author Carol Kammen observed: “The word comrade is historically inappropriate and anachronistic."

In Plano, Texas, artists Lynne Chinn and Shug Jones created a mosaic mural titled Tracks of Our Past and Future. Made in 2006, the mural is 75 feet long and celebrates the African American community of Plano, Texas. At the centre of the mural is the antislavery leader Frederick Douglass. 

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 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.

On May 25, 2011, a mural titled The Faces That Shape Us, was dedicated in Uncle David’s Playground. Mr Kenneth Gamble (pictured on the mural), the founder and chairman of Universal Companies, had bought a rundown building in South Philadelphia and tore it down. He wanted to bring something positive to the neighbourhood and so he funded a local children’s playground, complete with a mural. Muralists Keir Johnston and Ernel Martinez started the mural in the summer of 2010. The mural features Frederick Douglass and other historical figures such as W.E.B. Du Bois, George Washington Carver and James Baldwin, as well as local figures Dr. Emmett Chapell, Judge Frederica Jackson, and Faatimah Gamble. The mural was developed through a partnership with Universal Companies, the Philadelphia Prison System and the City of Philadelphia Department of Human Services. 

In 2000, muralist Mike Alewitz planned on creating a series of murals about the heroes of the abolitionist movement, titled The Dreams of Harriet Tubman. Alewitz’s goal was to have the Dreams series as a necklace of murals across the state of Maryland with the flagship mural on a major wall in the city of Baltimore. This mural would depict Harriet Tubman, who was also known as Moses. In a pre-circulated plan on Black Radical Congress General News, Alewitz described how the flagship mural would have an army of freedom fighters (Martin Luther King Jr., Malcolm X, Mumia Abu Jamal, Sojourner Truth and Robert Gould) standing behind a musket-wielding Tubman. But the mural stirred up controversy when the group who had planned to display the mural, the Associated Black Charities Inc., decided the piece could be construed as racist and violent. Alewitz was asked to replace the musket but he refused: “I will not disarm Harriet Tubman. I won’t take [the musket] out of her hands.” The lack of a major wall was a setback for the Dreams series and another of the murals, on a wall in Hartford County, was defaced in the summer of 2000 by racist graffiti.

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 2000, a graffiti collective called Rocking The Nation (RTN) began The Crenshaw Wall, colloquially known as The Great Wall of Crenshaw. At 7,787 feet long, the mural has become a landmark for the area. The timeline depicts African American history, and features the antislavery figures Frederick Douglass and Harriet Tubman, as well as Marcus Garvey, black soldiers from World War I, II and Vietnam, and Ethiopia’s Emperor Haile Selassie. A shackled slave breaks free from his chains and evolves into an athlete, American footballer and basketball player. Further along the mural are Black Panther Party leaders alongside Martin Luther King Jr., and Malcolm X. The mural starts with a black woman breathing life into the mural and ends with a couple giving birth.“We finally get the chance to paint the Crenshaw Wall, and bring some black awareness to the Crenshaw Wall – to teach the history of our people, to teach our people to be proud, to teach our people love, and where we came from and where we might possibly end up,” explained Enk One of RTN.Over a decade later, the mural requires restoration and protection. RTN are working towards this goal, as well as designating the mural a historical landmark, renaming the block ‘Crenshaw Mural Square’ and developing an app that gives a visual tour of the mural.

In 1941, the artist Charles White was awarded $2000 from the Julius Rosenwald Fellowship for an ambitious project that included the creation of Contribution of the Negro to Democracy in America. Two years later, he unveiled the mural at the Hampton Institute in Virginia.The central figure has chains around his wrists that also loop around the necks of three other figures. But the shackles on the figure’s wrists are ready to be broken by the abolitionists: Frederick Douglass, Nathaniel Turner, Denmark Vesey, Harriet Tubman and Peter Still.

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 1970, a group of seven black UCLA art students created a mural titled The Black Experience on the first floor of the Ackerman Student Union building. The mural, which measures 10 feet by 27 feet, was obscured for 20 years by a false wall erected in front of it during building renovations in 1992. Then in 2013, the mural was restored. “It was important in 1970, as it is today, to address issues of racial disparity on the UCLA campus,” one of the artists, Helen Singleton said. “Our mission in creating ‘The Black Experience’ mural was to expand and enhance that effort with a visual representation of the history and experience of African Americans in the United States.” The seven art students, Helen Singleton, Marian Brown, Neville Garrick, Andrea Hill, Jane Staulz, Joanne Stewart and Michael Taylor, are all depicted in the mural, alongside silk-screened graphics of the antislavery leaders Frederick Douglass and Harriet Tubman, alongside Martin Luther King Jr., Malcolm X, Bobby Seale, Huey P. Newton, Muhammad Ali, and Angela Davis. “We learned a lot about our history by exploring what images to use,” said Garrick, who was a freshman from Jamaica when he participated in the art project. In 2012, the effort to uncover the mural gained momentum after members of the Afrikan Student Union brought the mural to the attention of the Associated Students UCLA board of directors. At the unveiling in 2013, both Singleton and Garrick were guests of honour, along with activist Angela Davis.