This paper examines the ways that slave bodies have been rendered visible in visual representation. I argue that African diasporic slave bodies are firmly located in a history of viewing imbued with a sentimental erotics of pain. Through a careful examination of the engravings by Francesco Bartolozi that accompany John Stedman's Narrative of a Five Years Expedition against the Revolted Negroes of Surinam, I argue that even abolitionist images of slaves traffic in pain, exploiting the wounded captive body through a sexualized identification that reinscribes black subjugation. I suggest that contemporary African diasporic artists such as Lalla Essaydi can navigate this genealogy of viewing by strategically moving through hurtful images in order to resituate and recite them. Such a re-citation as Essaydi accomplishes in her painting Duty Free allows for an ethical viewership that does not simply ignore or repress a painful legacy of visual representation but that rethinks it in the name of redress.