The Freedom House Museum was once part of the headquarters for the largest domestic slave trading firm in the United States, Franklin and Armfield. Enslaved Africans were brought from the Chesapeake Bay area and forced to the slave markets in Natchez, Mississippi and New Orleans either by foot or ship. The building has a long history. In 1828, it was leased by Isaac Franklin and John Armfield and used as a "Negro Jail" or slave pen for slaves being shipped from Northern Virginia to Louisiana. During the American Civil War the museum and its surrounding sites were used firstly as a military prison for deserters, then as the L'Ouverture Hospital for black soldiers, and finally as the barrack for contraband-slaves who fled the confederate states and sought refuge with Union troops.

The building is currently owned by the Northern Virginia Urban League but the museum is managed by the office of Historic Alexandria. It operates as a reminder to the people of Alexandria of the city's role in historic slavery.

In the basement of the building there is a powerful exhibition which depicts the harsh reality of the domestic slave trade and Alexandria's role in it, through the use of first person narratives from enslaved men and women. These are complemented with a range of contextual text panels, artefacts, images and maps.

Freedom Park opened in 2006 having been established as a Legacy Project of South Africa’s second democratically-elected president, Thabo Mbeki. Nine sites were established as Legacy Projects, receiving ample state funding as spaces considered priority sites in preserving national history. Freedom Park was conceived as a national memorial, with a central feature being the 'Wall of Names'; a memorial wall displaying the names of people associated with eight ‘struggle’ epochs which the site considers to define South African history. Elsewhere, evidence of the influence of Mbeki’s ‘African renaissance’ philosophy is prominent. Memorial features in the ‘Isivivane’ area include a symbolic burial ground titled ‘Lesaka’, and ‘Lekgotla’, an African meeting place surrounding the trunk of a uMlahlankosi tree.

A museum, named //hapo (‘dream’ in Khoi) opened in 2013, introducing explicitly didactic content to Freedom Park for the first time. Much like the ‘Wall of Names’, this is grouped into eight ‘struggle’ epochs. It weaves an Africanist narrative beginning by positing the continent as the cradle of mankind, and ending by suggesting that Africans can look to the past to solve the problems of the present, many of which it links with European colonisation. Freedom Park operates a substantial educational and visitor tour programme.

Freedom Park is the only museum in South Africa outside the former slave trading epicentre which is now the Western Cape to cover slavery in any detail. Slavery features as an epoch on both the ‘Wall of Names’ and in //hapo. With the former, it is not clear whether the names displayed are actually those of people enslaved in South Africa, as some of the names are more indicative of transatlantic slave naming patterns. In //hapo, the epoch titled ‘Peopling’ details how Europeans viewed Africa as a market for human beings. A number of artefacts – some of which were created for the museum – depict African life prior to the arrival of Europeans, whilst an installation by the Johannesburg-based artist Clive van den Berg portrays departure. Slavery depicted in //hapo therefore is transatlantic slavery, rather than the very different system of slavery evident in South Africa.

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. 

Founded in 1685, Groot Constantia is South Africa’s oldest wine estate. Like the majority of wine estates of a similar vintage in the Cape Town area, its labour force prior to emancipation in 1834 rested on enslavement. Following a vine disease outbreak in the late nineteenth century, the estate passed into government ownership. It is currently operated by the arms-length Groot Constantia Trust. The manor house was rebuilt in Cape Dutch style following a fire in 1925, and has operated as a preserved site since that time. The manor house passed into the control of the South African Cultural History Museum in 1969 and, as with other sites managed by the same entity, became part of southern state-funded umbrella Iziko Museums in 1998.

Iziko’s inauguration signalled a shift towards previously marginalised histories at all its sites, with Groot Constantia no different. A revised history of Groot Constantia paying greater attention to enslaved people was written by curator Thijs van der Merwe and published in 1997. Buildings which had potentially served either as stables and/or as slave quarters were repurposed as an Orientation Centre in October 2004. As the first heritage space which the visitor reaches upon arrival, displays in this building foreground the Cloete family – owners from 1779 to 1885 – as ‘farm owners and slave owners’. Drawn from archival research, their human transactions are listed, whilst the origins, names, and worked carried out by people enslaved at Groot Constantia are also listed. A panel is devoted to the ‘young servant boy’ Friday, whose ancestral origins are linked to the suppression of the slave trade by the British Royal Navy. The selection of this story can partially be attributed to the availability of suitable museological material, given that a photograph of Friday carrying Bonnie Cloete’s archery set is included.

The Hanover Museum dates back to the eighteenth century, and is housed in a former slave prison. It was redeveloped in 2011 and now stands as an important symbol of resistance to the people of Jamaica. Situated in the small town of Lucea, between Montego Bay and Negril, the museum sits within a wider landscape of Georgian colonial architecture. Other buildings of historical significance include the nearby church and Fort Charlotte.

The museum houses a varied collection charting the development of the town from the period of plantation slavery to Jamaican independence from British rule. There are paintings, pottery and other artefacts that showcase what life was like for the enslaved. There are also instruments, including stocks, whips and shackles, that highlight the brutal nature of enslavement. In addition, the museum houses a significant collection of archival material, including plantation records and accounts, as well as an early, hand-drawn map of the harbour and surrounding area by Captain William Bligh.

The Harriet Tubman Museum is a small museum located in Cambridge, Maryland, a few miles from where Harriet Tubman was born. The museum originated as a community organization which was planning a single three-day event honouring Harriet Tubman in 1983. Over the years, the Harriet Tubman Organisation has adjusted its goals; today its mission 'is to develop programs and services for children and families and to preserve the history and memory of Harriet Tubman by offering the general public an interpretive history of her achievements.'

The museum's permanent exhibition is a combination of interpretive text and artefacts, many recovered from nearby plantations. The artefacts on display represent the objects that the enslaved would have used in their daily lives, as well as more brutal symbols of slavery like shackles. The museum, which accepts admission donations, is usually open Tuesday - Saturday. Through the museum, visitors can also organise trips to the actual property where Tubman was born and worked. The museum hosts school groups as well as a range of special events throughout the year.

The Harriet Tubman Underground Railroad National Historical Park was established in 2003, the 100th anniversary of Tubman's death, in rural Dorchester County. In 2017 the Harriet Tubman Underground Railroad Visitor Centre was officially opened. The visitor centre was a collaborative project between the US National Park Service and the Maryland Park Service. The building houses exhibition space, a research library and gift shop. Also on location is a public pavilion and legacy garden.

The design of the site was built around the importance of northward movement in the slave's quest for freedom. The legacy garden stretches out north between the buildings, offering an expansive and hopeful view. The view south is more enclosed and fragmented, reflecting the intolerable existence for those enslaved. The visitor centre houses an exhibition that chronicles the life and accomplishments of Tubman; her birth into slavery, escaping and subsequently returning to free friends and family, her work as a Union spy and her activism after the Civil War. The story is told through a combination of interpretive text, videos, murals, dioramas and her own powerful words.

The park and visitor centre are open seven days a week and are free to the public. The visitor centre also provides further information on the Harriet Tubman Underground Railroad Byway Driving Tour, which has 36 stops throughout the Eastern Shore of Maryland linked to Tubman's life.

Het Scheepvaartmuseum is the National Maritime Museum of the Netherlands. Housed in a seventeenth-century naval storehouse, the museum showcases the ways in which Dutch culture has been influenced by the sea. A vast array of collections, including paintings, maps, maritime instruments and weapons illustrate these stories. Just outside the museum, there is a replica of an eighteenth century ship, the Amsterdam, which once sailed between the Netherlands and the Dutch East Indies. With fifteen permanent exhibitions and a free audio tour, the museum's four million annual visitors are exposed to over five hundred years of both Dutch, and world, history.

Dutch involvement in slave trading is highlighted in the 'See you in the Golden Age' exhibition. The interpretation here focusses on the seventeenth century, a time when the Netherlands was one of the most economically and culturally rich countries in the world. While the exhibition reflects this boom period through a variety of collections, it also illustrates the darker side of Dutch prosperity. By making use of contemporary narratives, the museum provides its visitors a chance 'meet' historical characters including Amimba, a young African girl who was forced into slavery.

The House of Negritude and Human Rights opened in 1971 in the former Champagney town hall. It relocated to its present site in 1995. The museum was founded after local historian René Simonin discovered a document in the Haute-Saône departmental archives. This document is known as 'Article 29' of the Champagney Register of Grievances. In 1789, the inhabitants of Champagney, drew up their list of grievances at the request of King Louis XVI. This document would be used to prepare the meeting of the Estates General that would open the process of the French Revolution. 'Article 29' was a one-of-a-kind request to abolish black slavery on humanitarian grounds.

The museum is a tribute to the "Champagnerots" (people of Champagney) who made this extraordinary request. Text interpretation explores the context of the request, examining the french slave trade and the movement for abolition in other European countries in the nineteenth century. There are artefacts that highlight the terrible conditions faced by the enslaved, including a replica slave ship and items recovered from plantations in Haiti.

The interpretation also goes on to examine other forms of slavery in the contemporary world. This is embedded into the museum's popular education programmes that reflect on the development and importance of human rights around the world.

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 International Slavery Museum (ISM) is the first museum in the world to focus specifically on slavery, both historical and modern. Managed by National Musuems Liverpool, it opened to great acclaim in 2007 and has since welcomed over 3.5million visitors. Through its displays and wide-ranging events programme, the ISM aims to tackle ignorance and misunderstanding in today’s society by exploring the lasting impact of the transatlantic slave trade around the world. On entering the ISM, visitors immediately arrive in a space designed to provoke thoughts and discussion- the walls are etched with powerful quotations from historical figures and contemporary activists, many from the African diaspora. There is a display of West African culture, designed to showcase the breadth and depth of African civilisation before the devastation caused by the transatlantic slave trade, which includes examples of textiles, musical instruments and other ethnographic material. The display then goes on to look at the trade itself; the logistics, the processes and who benefitted on one hand, whilst also exploring the experience of the enslaved through multisensory interpretive techniques, including an emotive film of what the Middle Passage may have been like. All of these displays are supported by the rich, local archival collections, drawing on Liverpool’s own history as a prosperous, slave-trading port. Moving forward along a chronological timeline, the exhibition then covers abolition, significantly beginning with the acts of resistance from the enslaved themselves, through to organised abolition movements and then discussing the continued fight for freedom through the post-emancipation then civil rights era, right into the twenty-first century. The lasting legacies of the trade are thoroughly examined, from racism and the under-development of African countries, to the spread of African culture and diverse nature of Liverpool’s communities. A unique feature of the ISM is its ‘Campaign Zone’, opened in 2010, which houses temporary exhibitions just off the main gallery space. These are frequently run in conjunction with campaign organisations and usually focus on aspects of modern slavery, highlighting to visitors that it is very much still a live issue and not one that has been relegated to history. Recent exhibitions in this space have included 'Broken Lives' organised with the Daalit Freedom Network and 'Afro Supa Hero' with artist Jon Daniels.

Keeping the Past Alive is a partnership between University College London's Ethnography Collection and Congo Great Lakes Initiative. The exhibition reflects the stories that Congolese community members share as and how they interact with objects, either personal, provocative or relational. It is divided into three topics: traditional power objects, sacred rituals and medicine, and everyday life. The objects on display tell stories, sometimes with a metaphor of their own, which will, we hope, make visitors internalize and discuss the messages they bring. This exhibition is the final step of our collaboration with Congo Great Lakes which started one year ago. During the project, an interactive platform which can host online exhibitions has been developed. The platform collects archives and documentation and shares the data with Horniman and UCL Congolese collections and members of CGLI.

Situated on the grounds of a nineteenth-century merchant’s house and slave quarters, Kura Hulanda is an anthropological museum that focuses on the cultures of Curacao. Its displays examine a wide range of subjects from the origins of man, the African slave trade, and West African Empires, to Pre-Colombian gold, Mesopotamian relics and Antillean art. The museum is located in the central harbour of Willemstad, where Dutch merchants traded enslaved Africans and commercial goods. Kura Hulanda Museum demonstrates the influence that African and other diverse cultural heritages have had on Curaçaoan and Caribbean societies through time to the present day. It is managed by the Curaçao Tourist Board.  The museum's exhibits trace Curaçaoans African roots and the legacy of the slave trade in the region with collections of art and artefacts from West Africa, illustrating the African influences on Caribbean culture. Displays chart African civilisations, the Middle Passage, life on the plantations, abolition and apprenticeship. There is a model of a slave ship, alongside examples of African bronze work, and instruments that showcase the brutal nature of enslavement. Other displays bring the narrative closer to the present day, examining the Civil Rights movement in the USA with panels relating to the Black Panthers, Martin Luther King and Malcolm X. 

Le musée d'histoire de Ouidah (The Ouidah Museum of History) is located within the Old Portuguese Fort in Ouidah. The Fort was used to contain and transport enslaved Africans as part of the transatlantic slave trade, serving as the site for diplomatic presence of Portugal in the area. The fort became property of the Dahomean government in 1961, when it was restored and turned into a museum, opening in 1967. It is managed by the Department of Cultural Patrimony.

The museum's collections are grouped into six major exhibit themes: the Portuguese Fort (in which the museum resides), the Kingdom of Xwéda, the Kingdom of Dahomey, the Slave Trade, Vodun, and the cultural links between Benin and the New World. These collections are made up of artefacts, photographs and objects that have significant meaning to the history and culture of the museum's local area.

The history of slavery runs throughout the displays; from the Portuguese Fort display which discusses how enslaved Africans were kept there. The displays that explore the kingdoms of Xwéda and Dahomey use collections to emphasise the extent to which both of them were dependent on the trade in enslaved individuals with Europeans for riches and power. These include a range of archaeological finds, as well as engravings and drawings. The exhibition about the religious traditions of the area, in particular the development of Voodoo, reflects on the continued use of African religions by enslaved people in the Americas during the period of the transatlantic slave trade, using religious artefacts. A range of images and objects showcase the impact that people from Benin made on the cultures of New World societies, as well as the effects of mass repatriation to Benin after the decline of the slave trade.

The Slave Trade exhibits examine the system of transatlantic slavery from the sixteenth to the nineteenth century and how it impacted on the local area. The main focus is on the economic and social processes that the slave trade created in Benin, capture, enslavement and the Middle Passage. These themes are illustrated with a range of objects, artists' renditions and archival materials. Examples of objects on display include chains and yokes. Images are also used to give some information about the plantation system in the Americas and Caribbean.

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.

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.

On the former site of a sugar factory, Guadelopue's Memorial ACTe stands as a cultural institution that aims to preserve the memory of those who suffered during slavery, as well as to act as a space for discussion on the continuing repercussions. Part of UNESCO's Slave Route project, its main focus is on the challenges of bondage in the Guadeloupe islands. Memorial ACTe was opened in 2015 by then French President, Francois Hollande, and nineteen other heads of state.

The Memorial ACTe is a unique museum, both internally and externally, through its architectural design. It is also a centre for live arts and debates. It aims to provide interpretation through a variety of viewpoints and disciplines, using not only history but ethnology, social anthropology and history of art as well. The history of slavery and the slave trade are explored through a range of archival material, images and artefacts, with visual and audio installations too.

The permanent exhibition space examines the history of slavery from antiquity to the present day, using objects, reconstructions, visual and audio installations and digital interactives. The temporary exhibition space focusses on contemporary forms of artistic expression in relation to slavery around the world. In addition, there is a research centre where visitors can look into their genealogy, as well as a library and a conference hall.

The Mercado de Escravos (or Slave Market Museum) is situated in the center of Lagos on the site of a fifteenth-century slave market, believed to have been the first in Europe. The museum building itself was built in the seventeenth century on the remains of the market, first as the Royal Overseer's Office, and then as the Customs House from 1755. The museum seeks to highlight the history of Portuguese involvement in the enslavement of African people.

The opening displays in the museum provide the visitor with detail about the process of enslaved Africans being transported from Africa to Portugal, and how they were then integrated into Portuguese society. There is also a panel which provides information linking this to the slave trade in Brazil, which was then a Portuguese colony.

On the second floor of the museum, there are further displays about the slave trade. The collections include books, artefacts, archival material and pieces of art (both contemporary and historic). There are tablets available so that visitors can view more of the museum's collections that are not out on display.

The Slave Market also provides visitors with information about archaeological excavations on the medieval rubbish tip of Lagos, which have led to the discovery of skeletons thought to belong to enslaved Africans.

The Mobee Royal Family Original Slave Relics Museum is a small museum housed in a nineteenth century colonial building. It showcases the role of the local 'Chief Mobee' in the enslavement of local Africans during the transatlantic slave trade, as well as the role of his son (and successor) in abolishing slavery in the area.

The museum houses one exhibition which discusses the arrival of Europeans to the Badagry area and the origins of the trade in human beings. Artefacts highlight the brutal nature of the capture and the enslavement of African people. These include yokes, chains, a mouth lock that presented the captives from speaking, and handcuffs for children. Other objects are examples of trade goods that were received by the Chief in exchange for a supply of people. Text interpretation also provides visitors with information about the terrible conditions faced by the enslaved during the Middle Passage, and images provide representations of life on the plantations.

The museum is often visited as part of a 'Black History Tour' with the former slave market and the Black History Museum.

Musée d’histoire de Nantes (Nantes History Museum) was originally the residence of the Dukes of Brittany and the castle was restored in the 1990s. It opened to the public as a museum in February 2007. The museum is not wholly dedicated to looking at slavery, but explores the history of the castle and the city. However, it is acknowledged that the Atlantic slave trade is a key part of that history. The themes covered within the museum begin with the construction of the castle in the 13th century, and then follow the development of Nantes as part of Brittany through the ages until the 17th century. The museum also examines trade, the impact of the French Revolution, industrialisation, the two world wars and a contemporary look at Nantes as an ‘Atlantic City’. The museum added several rooms in 2016 that looked with greater detail at modern history. It has been designated a 'Monument Historique' by the French government. In addition to the historical artefacts housed in the museum, interactive and digital media is incorporated throughout as a part of the museum's aim to showcase the history of the city not only through objects and art work, but also contemporary technology.

Slavery is mainly addressed in the exhibition ‘Trade and Black Gold in the 18th Century’, where the displays address the role Nantes played as a key French port for vessels embarking on the Triangular Trade. Objects on display include maps, paintings and a collection of printed canvases produced in Nantes that would have formed a significant proportion of the cargo taken on the first leg of the trade voyage, from France to Africa. As well as examining France’s role in the logistical aspects of the trade, this exhibition also includes interpretation about Haiti. This interpretation has a dual focus, with Haiti as the destination for most of the ships originating in Nantes and the site of the most successful slave revolt in the western hemisphere.

Other exhibitions within the museum also look generally at the larger events in French history and how they changed Nantes’s relationship with slavery. Within the exhibitions on Nantes and the Revolution, the long process of abolition and then re-entrenchment of slavery under Napoleon are discussed in the interpretation. Until 1831 Nantes was still France’s largest slave trading port despite the activity being previously outlawed in 1816. Similar to the Memorial to the Abolition in Nantes, the Nantes History Museum intends to provide a reflection on local history both good and bad.