In the spring of 1976, the World of Islam Festival opened in London, celebrated by royalty and diplomats from around the world. For three months, the city of London was filled with different exhibitions, performances, and lectures about the historical Islamic past in order to inspire Muslim-Christian unity in then present-day Britain. Archival documents, which have not yet been examined or cited in the existing literature, reveal that the authority to present Islam was held in the hands of former diplomats, and other private interests. The event was funded by what organizers called “Moslim governments” in conjunction with the British government, and other private investors. Although the festival had educational intentions, it was met with mixed reception, including intense criticism from Christian Evangelicals who saw the event as proselytizing Islam, and from British Muslims, who felt unrepresented. An event that was designed to promote unity ultimately created more divisions. Utilizing the decolonial methodologies of Walter Mignolo and archival documents from the festival organizers, this paper examines how representations of a timeless, historic Middle East were crafted at the World of Islam Festival. This paper has several interrelated aims. First, utilizing archival material, it highlights what sorts of representations the organizers crafted and how, specifically using history and religion for contemporary goals. Specifically, what was the relationship between the organizers and Islam, and from where did they attempt to derive their authority? Second, this paper highlights how the World of Islam Festival was received by the public. Third, it considers how smaller galleries at this time, such as the Mathaf Gallery and the Long Gallery, both in London, presented contemporary art from the Arab World, a topic notably absent from the World of Islam Festival. This paper promotes further questions about how historical Islamic objects are currently used to “represent” the Middle East and for what purpose.