To Vodu there is more than the eye can see. The spiritual practice originated in West Africa, its knowledge, visuals and material manifestations were first violently globalized via the Middle Passage and adjusted in diasporic spaces according to local needs and restrictions. Its protagonists in tangible as well as their intangible forms are called Vodu, they usually perform in the architectural setting of a shrine. With colonization, globalization, and relocation they have been and are put on display and published in the literal sense of the word in the Global North. Tied to European discourses around the capabilities of images, visual representations of Vodu emerged in ethnographic writing. First as mere line drawings, they were soon painted in the colors of imagination of their Western authors. With a general focus on newer photographic techniques in art, ethnography, and museum studies, Africa's material culture has been put in front of Western lenses in the first half of the 20th century and on display in museum exhibitions. Vodu and their visuals are strongly and interdependently connected. In form of educative paintings on a shrine's walls they encounter a wider audience, while their temporal materializations in clay or human form are more conscious when it comes to visibility. Relocated to Western spaces of display where they are held captive, they forcefully encounter an audience which is usually not at all initiated into their practices or aware of their needs at all. This talk will look at some of the connections and differences when it comes to semi-public as well as public places of Vodu's display in Ghana and Germany. Introducing to the visuals used at the Mamishie Rasta shrine as well as Hunua Adoglo's shrine (both Volta region, Ghana), their restrictions and conscious use of different levels of visibility there, comparisons to German museums (Soul of Africa, Essen) and exhibitions („Voodoo", Hildesheim) will be made.