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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
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Hungary is poised to topple an authoritarian leader. American Jews have something to learn
An aspiring authoritarian, who has spent more than a decade shaping his country through a political project of popularist grievance and personal enrichment, may soon meet his electoral end.
That elected leader is not President Donald Trump, but Hungarian Prime Minister Viktor Orbán, who has ruled Hungary consecutively since 2010 (and who previously served as prime minister between 1998 and 2002). Hungarians will go to the polls on April 12, and Orbán’s Fidesz party is polling well behind the conservative, pro-European Tisza. That Trump, who is closely allied with Orbán, this week dispatched Vice President JD Vance to Budapest to campaign for Orbán may not be enough. (While there, Vance baselessly claimed EU interference in Hungary’s elections, turning back to the same old Trump playbook.)
There is much that Americans can learn from the Hungarian experience of years spent under the governance of someone accused of dismantling rule of law, a person whose inner circle has grown rich during his time in office. But American Jews in particular should pay attention. Because Orbán’s administration has used antisemitism as a political tool throughout his time in power, and is desperately turning to this hatred once again on its way, possibly, out the electoral door.
Examining the different purposes for which Orbán has employed antisemitism is instructive. The essential lesson: Antisemitism deployed by powerful people is often an attempt to evade accountability for their own bad actions.
The Orbán administration has tried to rewrite history so as to paint Hungary as a perpetual victim or victor — never a country responsible for misdeeds like, say, allying with Nazi Germany prior to being occupied by it. Orbán, like other politicians interested in historical revisionism, has tried to make adherence to his specific retelling of Hungarian history synonymous with being a true Hungarian. Anyone who challenges his vision is, in it, an enemy of the state.
For no one has that been more true than Hungarian-born Jewish billionaire philanthropist George Soros. In past elections, Orbán has inflated Soros to the status of a political adversary, campaigning against a spectral version of him instead of his actual political opponents. This approach, rife with antisemitic dog whistles, has been alarmingly effective.
“We are fighting an enemy that is different from us. Not open, but hiding; not straightforward but crafty; not honest but base; not national but international; does not believe in working but speculates with money; does not have its own homeland but feels it owns the whole world,” he said of Soros in the 2018 campaign, invoking any number of longstanding antisemitic tropes.
When Orbán’s authoritarian efforts extended to cracking down on liberal institutions and civil society, he turned again to antisemitism in the form of Soros conspiracy theories.
Under attack by Orbán, Central European University, the university that Soros founded, has mostly been pushed out of its original home of Budapest. When the Hungarian government passed legislation to criminalize helping those who wanted to claim asylum in the country, it was called “Stop Soros” legislation. NGOs in Hungary have long been smeared for receiving money from Soros’ Open Society Foundations, accused of being proxies through which Soros is “targeting” Hungary.
Recently, Orbán has pivoted, making Ukrainian President Volodymyr Zelenskyy the new scapegoat of his antisemitic conspiracy theories.
He has charged that support for Ukraine is expensive and even dangerous, and pushed the idea that Orbán and Fidesz are all that prevents such support from leading Hungary to disaster. Orbán and Fidesz have erected billboards showing Zelenskyy smirking with an outstretched hand, in a pose reminiscent of the antisemitic “happy merchant” meme. Perhaps most tellingly and menacingly, Fidesz has put up posters with Zelenskyy’s face, blazoned with nearly the same words that, almost a decade ago, accompanied campaign posters with Soros’s visage on them: “Let’s not let Zelenskyy have the last laugh.”
As Hungarians are asking what, exactly, the last decade and a half of autocracy have accomplished for them, their governing party appears to be suggesting that it is the only thing standing between them and the machinations of a nefarious Jew. Antisemitism can be many things, but in Hungary, again and again, it has been an attempt to trick citizens out of asking what good Orbán’s government has done for them.
This playbook has clear resonances in that deployed by Trump.
When threatened, Trump and his allies repeatedly turn to blaming Soros. They have used the idea of Soros as a sort of universal bogeyman to try to explain away Trump’s felony charges and to justify violence against citizens protesting ICE. The Department of Justice has tried to find ways to push for prosecutions of Soros and his allies, on far-fetched charges possibly including material support of terrorism.
What Orbán and Trump have both bet on is that dog whistling about all-powerful Jews will distract enough voters from noticing while they help themselves to their country’s rights and riches. If Orbán is defeated on Sunday, his loss will send an essential message to Americans: that strategy can only sustain a leader for so long.
Flailing about and sowing the seeds of antisemitic conspiracies cannot change the stubborn fact that neither Soros nor Zelenskyy is in charge in Hungary: Orbán is. Hungarians seem to see, now, that all that talk about Soros didn’t make their lives any better. Neither will going after Zelenskyy.
We can hope Hungarians remember that as they go to the polls. We, American Jews, should remind others, and ourselves, of it here, too. We often focus on trying to communicate that antisemitism is hateful and unfair toward American Jews. Perhaps, in addition, we should try to point out that Trump’s antisemitism, like Orbán’s, is not only hateful, but a hateful deflection.
The post Hungary is poised to topple an authoritarian leader. American Jews have something to learn appeared first on The Forward.
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Israel Expels Spain From US-Backed Gaza Coordination Center as Diplomatic Rift Deepens
Spanish Prime Minister Pedro Sanchez speaks during a press conference after attending a special summit of European Union leaders to discuss transatlantic relations, in Brussels, Belgium, Jan. 23, 2026. Photo: REUTERS/Yves Herman
Israel has expelled Spain from the United States’ Civil-Military Coordination Center (CMCC) in Kiryat Gat, a hub established to coordinate humanitarian operations in the Gaza Strip, marking a sharp escalation in an already deteriorating diplomatic rift between the two countries.
On Friday, Israeli Prime Minister Benjamin Netanyahu announced Spain’s expulsion from the CMCC, framing the move as a response to Madrid’s increasingly anti-Israel stance and what he described as continued hostility toward the Jewish state.
“Spain has defamed our heroes, the soldiers of the [Israel Defense Forces], the soldiers of the most moral army in the world,” Netanyahu said during a press conference. “Anyone who attacks the State of Israel instead of the terrorist regimes … will not be our partner in the future of the region.”
“I am not willing to tolerate this hypocrisy and this hostility,” the Israeli leader continued. “I do not intend to allow any country to wage a diplomatic war against us without paying an immediate price for it.”
In a press release, Israeli Foreign Minister Gideon Saar confirmed that the United States had been informed ahead of time, adding that the decision followed Spain’s serious harm to the interests of both Jerusalem and Washington.
The Spanish government has also been informed of the decision, though it has yet to issue any public statement or official response.
“Spain’s obsessive anti-Israel bias under [Prime Minister Pedro Sanchez]’s leadership is so egregious that it has lost all capability to serve a constructive role in implementing US President Donald Trump’s peace plan and the center operating under it,” the top Israeli diplomat wrote in a post on X.
For a long time, the government of Spain under @sanchezcastejon has been operating against the State of Israel in every way possible. Sánchez and his ministers level false blood libels against Israel and its army, defame and incite against Israel and Prime Minister Netanyahu. The…
— Gideon Sa’ar | גדעון סער (@gidonsaar) April 10, 2026
Established in October 2025 as part of US Central Command, the CMCC was set up to coordinate and manage the flow of humanitarian, logistical, and security assistance from the international community into Gaza under Trump’s peace plan for the enclave.
Since the start of the war in Gaza, and increasingly amid the war with Iran and broader regional escalation, Spain has launched a fierce anti-Israel campaign aimed at undermining and isolating the Jewish state on the international stage.
Earlier this week, Sánchez publicly condemned Israeli strikes in Lebanon and the widening regional escalation tied to the Iran conflict, renewing calls for the European Union to suspend its association agreement with Israel and urging an end to “impunity for [Israel’s] criminal actions.”
The Spanish leader also accused Netanyahu of breaching basic humanitarian norms, saying his “contempt for life and international law is intolerable.”
Spanish Foreign Minister José Manuel Albares has also publicly condemned Israel’s military campaign, describing the conflict as “the greatest assault on the civilization built upon the humanist ideals of reason, peace, understanding, and universal law over the abuse of power, brute force, and arbitrariness.”
In a phone call with his Spanish counterpart on Friday, Iranian Foreign Minister Abbas Araghchi praised Spain’s “principled and honorable” stance on what he called “US-Israeli aggression against Iran,” urging countries to take a firmer stand against what he described as war crimes.
“Spain’s valuable stances in defending international law and human values have been noted and praised by the Iranian nation and the international community, and will never be forgotten,” the top Iranian diplomat said.
Even though Spain welcomed the recently announced US–Iran ceasefire, Albares said, “Madrid will not applaud those who set the world on fire just because they show up with a bucket to put out that fire.”
As part of its broader anti-Israel campaign, Spain had recently closed its airspace to aircraft involved in what officials described as a “reckless and illegal confrontation” – another move welcomed by Iran’s Islamist government.
In one of its most controversial recent moves, Madrid also announced this weej the reopening of its embassy in Tehran.
According to data from Spain’s Ministry of Trade reported by Servimedia, the Spanish government exported more than €1.3 million worth of dual-use materials to Iran in 2024 and the first half of 2025, including explosive components, laboratory reagents, and specialized control software.
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DNC Fails to Pass Resolutions Condemning AIPAC, Pushing for Conditioning Aid to Israel
Crews prepare the stage at the annual AIPAC Policy Conference in Washington, DC, March 6, 2018. Photo: Reuters / Brian Snyder
A panel at the Democratic National Committee (DNC) on Thursday voted down a resolution to condemn the influence of the American Israel Public Affairs Committee (AIPAC), the foremost pro-Israel lobbying group in the US, in Democratic primary elections. The panel also deferred a decision on resolutions to push for conditioning military aid to Israel and to recognize a Palestinian state.
The resolutions, which were considered within the newly created Middle East Working Group, were introduced into the agenda by Florida DNC member Allison Minnerly, who saw it as an opportunity to bring those who have not been “seeing their party support Palestinian rights or stand against military conflict” back into the fold of the Democratic Party, she told The Intercept.
Minnerly’s effort comes as the gap continues to widen between the official stance of the Democratic Party, which has largely supported aid to Israel in recent decades, and the views of the Democratic base, which now has an overwhelmingly unfavorable view of Israel, according to recent polling.
In recent months, a number of potential Democratic presidential hopefuls — including some who were former donors and speakers at AIPAC conferences — have been distancing themselves from AIPAC, saying they would not take money from the bipartisan group in the future.
Illinois Governor J.B. Pritzker, for example, recently said he abandoned his support for AIPAC when it “began to lean much more to the right and much more pro-Trump.” Another prominent Democrat, US Sen. Cory Booker (NJ) told Politico in March that he is no longer going to receive funds from AIPAC.
Others who have made sure to have no association with AIPAC include California Gov. Gavin Newsom and former Chicago Mayor Rahm Emmanuel.
Aside from the fact that Israel is now seen less favorably by Democratic voters, AIPAC has also become a hot topic on the left as its allied super PACs have become increasingly influential in Democratic primaries, spending millions to back candidates aligned with their positions. Critics within the party argue that this influx of money, including donations from Republican-aligned contributors, risks distorting Democratic contests and elevating outside influence.
Even so, the resolutions specifically calling out AIPAC, aiming to condition aid to Israel, and pushing to recognize a Palestinian state did not pass. Meanwhile, a separate resolution calling out all dark money went through.
“Let’s be clear on what really happened: Today, the Resolutions Committee voted to pass a resolution condemning the corrosive influence of ALL dark money in Democratic primaries,” DNC chair Ken Martin posted on X. “We had various resolutions that focused on different industries and groups, and instead of going one-by-one, we passed a blanket repudiation.”
Meanwhile, Democratic Majority for Israel President & CEO Brian Romick said in a statement that the Democratic pro-Israel group was “pleased” with the outcome of the vote.
“We’re pleased that the DNC Rules Committee rejected a set of divisive, anti-Israel resolutions,” he said. “These measures would be a gift to Republicans, would further fracture our party, and do nothing to bring Israelis and Palestinians closer to peace.”
“DMFI will continue to stay engaged with the DNC and its Task Force on the Middle East as it relates to these harmful resolutions,” he added. “The DNC and party advocates need to keep focus where it belongs — on building a united Democratic Party that can win back Congress this November.”
AIPAC spokesperson Deryn Sousa said in a statement to Politico that the DNC “made clear today that all Democrats, including millions who are AIPAC members, have the right to participate fully in the democratic process. And we plan to do just that.”
Halie Soifer, CEO of the Jewish Democratic Council of America — an organization that aims to bring Jews into the Democratic Party — told Politico that the DNC “as a whole has not shifted from where it has been … which is an organization that is inclusive of Jewish Americans and is supportive of the US-Israel security relationship, as well as Israel’s future as a Jewish and Democratic state.”
She argues that “misconceptions” about this have been driven by “a vocal, far-left faction of our party.”
“But they are in no way leading here,” Soifer said.