This project gathers an interdisciplinary group of scholars who, in the context of closed seminars, public events, and digital exhibits, will investigate how visual practices fostered during the slaveholding era in the circum-Atlantic world have underwritten modes of seeing Black bodies beyond their moment of production, be this in art or in other social expressions. While the concept of “afterlife” has been mostly activated in meditations about the long-term effects of the cultures of enslavement in our contemporary world, this project will also consider its possibilities with regard to the inner temporalities of the transatlantic slaveholding era, recognizing that from the sixteenth to the nineteenth centuries the relationships between enslavement and visuality underwent significant transformations. In this sense, the aims of this project are twofold: 1) to map out the historical and cultural particularities of those visual regimes (their epistemological, aesthetic, and social configurations) in a variety of geopolitical settings; and 2) to study both the extent and the specific means by which these have been foundational for the inscription of Blackness as human/non-human or “differently human,” as hypervisible and/or invisible, as well as a signifier of the criminal, the non-citizen, and the disposable in many post-slavery societies. The project will also explore and bring to the fore the role played by contemporary publicly engaged Black visual cultures and technologies in the memorialization and preservation of histories of slavery and in the contestation of their visual logics.