[1] In conjunction with the art and archives, panels and talks led by the exhibition curators, Makeda Coaston and Katty Pearce, and featuring individual artists, writers and publishers, including Eddie Chambers, Errol Lloyd, Emmanuel Taiwo Jegede, Denzil Forrester, Fowokan, Paul Dash, Sokari Douglas Camp,[7] Donald Hinds, Kadija George, Dorothea Smartt, Arif Ali, Sarah White, as well as Eric Huntley himself, were programmed.
[8][9][10][11] Within the exhibition was a purpose-built interactive installation by Michael McMillan, in conjunction with sound and visual specialists Dubmorphology,[12] that recreates the famed Walter Rodney Bookshop,[13] which was formerly located in West Ealing, functioning as a cultural hub of the community until it closed at the beginning of the 1990s.
[17] The installation at its centre[18] (which necessitated the unprecedented covering up of the gallery's largest painting, John Singleton Copley's The Siege of Gibraltar),[19][20] recreated the bookshop named in honour of assassinated historian Walter Rodney, and served to show something of the connection between the championing of black writers, such as Linton Kwesi Johnson or Lemn Sissay, and the support of black artists — such as Errol Lloyd and George "Fowokan" Kelly — through commissions for book covers, posters, greetings cards or the sale of works of art in the shop.
Its home, the Guildhall, has been the administrative centre of the City of London for hundreds of year and it was here much of the economic policy that steered the British Empire across the seas was driven, where the wealth coming back from the colonies was dished out and whose permanent art collection is the epitome of Imperial chic.
"[23] Also highlighting the history of the venue, the New Humanist review by Lola Okolosie found that "holding an exhibition that celebrates black British art at the Guildhall, with its colonial legacy, is an act akin to resistance".