The Parallel Views exhibition and its associated community engagement programme explored the relevance of the bicentenary for communities in the London Borough of Richmond upon Thames, uncovering local associations with slavery and its abolition. It also told the parallel story of twin town Richmond, Virginia, USA, to broaden understanding of the transatlantic slave trade and the impact of its demise. The exhibition examined evidence of individuals of African origin who had come to Richmond, and residents with financial links to slavery and the slave trade, and to abolitionism. A film piece by choreographer and dance historian Dr Rodreguez King-Dorset explored the use of dance within the free Black community in London during the era of abolition. A display of contemporary artwork responded to the ideas of the exhibition. A sculpture by carnival artist Carl Gabriel linked consumers in Richmond and the conditions of production of slave-grown crops. The design was inspired by a series of workshops with local families. Artist-led workshops for children and young people led to the creation of a carnival costume piece which was included in the exhibition.
One major trope in 19th-century antislavery visual culture was the auction block, which featured in the Liberator masthead from 1831 to 1865 as a scene with crowds of onlookers. In 21st-century antislavery imagery, the auction block is back. In 2010, the Task Force on Human Trafficking opened an installation called “Woman to Go,” featuring real women sitting or standing on blocks behind glass in a shopping center in Tel Aviv, each with a price tag and barcode.