Uncategorized
Why an exhibit that honors the Oct. 7 hostages still draws crowds in the U.S., even after their release
When I traveled to Chicago recently to tour the Nova Music Festival Exhibition, I expected to find it nearly empty. More than two years have passed since Oct. 7, 2023. All the living hostages have been returned home, and only one hostage’s remains are still being held in Gaza. I figured people were done revisiting the horrors, and ready to move on.
I was wrong. In Chicago, 1,200 visitors had purchased tickets for that day alone. This traveling exhibition, which uses actual objects from the Nova festival grounds to reconstruct the scene of the attacks, has been drawing massive crowds since it opened in Tel Aviv in December 2023.
By the time it reached Chicago after stops in New York, Los Angeles, Miami, Boston, Washington, D.C., Berlin and Toronto, more than 500,000 people had already passed through its doors. And the crowds continue to visit. The exhibition’s website announces, “new cities coming soon,” even as the events of October 7 recede into the background.
When my Uber pulled up to the exhibition — held in a warehouse — I saw lines of people, police cars, and security personnel. What were all these people doing here, I wondered?
The question wasn’t idle. I had my own doubts about what had drawn me. Was it morbid curiosity? Perhaps a voyeuristic urge? Beyond these unsettling questions, accusations from protesters who had demonstrated outside the June 2024 New York installation had gotten into my head. They had tried to shut down the exhibition there, calling it “apartheid apologia,” designed to justify Israel’s war on Gaza. Were they right?
I recoiled from each of these explanations but still could not pinpoint what exactly had motivated me to visit this re-creation of the site where so many people had met their brutal ends. It took two hours of walking through the installation, moving from one area to the next, to understand.
Why Hamas is absent
The exhibition begins in a small, dark holding room where visitors gather before entering the main space. A large wall panel provides the barest introduction to orient the viewer. After a long night of intense music, dancing and revelry — the text reads — just as the sun was coming up over the horizon, the rave party was shattered when the “Angel of Death” swooped in, firing a barrage of missiles, which were precursors to the “inconceivable horror” that was soon to follow.
Referring to the attackers as “The Angel of Death” matters. From these very first words, the story turns away from naming the perpetrators. Hamas is absent, as is any wider political context. That absence speaks for itself. This exhibition does not weigh in on Israel’s actions after Oct. 7. Its focus, instead, lies solely on the experiences of those who were abused, terrorized, kidnapped, and killed.
Passing through heavy drapery, visitors enter the festival grounds in the early hours of Oct. 7. Sand is spread underfoot, and small tents are strewn across the landscape. Yoga mats, sweaty T-shirts, flip-flops, cereal boxes and other personal belongings litter the ground. Burned-out cars and bullet-ridden porta-potties mark failed hiding places. Cigarettes and empty bottles lie scattered at the bar, as though party-goers were present just moments before.
Objects alone cannot tell the whole story; Screens scattered through the wreckage reveal the unfolding terror. Some mounted on stands, and others glowing inside the tents or dangling on wires play videos on a loop. One woman hiding between bushes, speaks into her own camera, “I’m filming so that later there will be a video of all this.” Another captured himself huddled with others in a trash bin.
More footage comes from the Go Pro cameras of the terrorists themselves. Taken from a pickup truck zigzagging across the road, one of these recordings shows terrified people running, trying to escape. Some are shot and collapse to the ground as the vehicle speeds past.
Additional screens feature survivor testimonies. One tells how her husband took a fatal bullet so she could flee, another lived by keeping cover beneath dead bodies.
This recounting represents what unfolded that day. At the Nova festival alone over 400 were killed, and 43 were kidnapped. What popularly came to be referred to as a single attack, fractured into thousands of separate experiences, each person caught by surprise, and left to confront the terror on their own. The confusion is conveyed through the disorienting structure of the exhibit itself. Visitors are not given a clear route through the space, or directions about where to look first and then next. Nor do we progress as a group. I am among strangers and without a guide, leaving each of us to absorb the fragments of horror in our own way.
Then comes the pivot. Visitors turn a corner, and the exhibition shifts to a tightly organized space that directs viewers along a deliberate path. A map marks where each festival-goer met their fate. No longer immersed inside the horror, we now see its larger shape. After the map, rows of tables are arranged, holding neat piles of folded sweatshirts, lines of eyeglasses, and carefully arranged pairs of shoes. No labels explain, and none are needed. It’s clear that these personal items are the pieces picked up after the massacre, sorted by volunteers who handled each with care.
Order in the aftermath
Now I am beginning to understand. Walking through the disorienting chaos was necessary to appreciate the ways in which order is made in the aftermath. Not only through collecting and tending to the objects left behind, but to the affected people as well. A wall display shows photos of the 44 hostages taken from Nova, with a message that the “Nova Community” holds all “their pain, their courage and their hope.”
In fact, the more than 3,000 revelers who attended the Nova rave were not a community at all. They came from different backgrounds, from all over the country and abroad, with no prior connection to one another. But the survivors, the bereaved, and the families of the kidnapped have gathered in the aftermath under the auspices of “The Tribe of Nova Foundation,” to offer each other support. Established by the festival’s producers immediately after the attack, the foundation provides therapy, healing services, and memorial events, all needed even now after the ceasefire.
Exiting the last dark portion of the exhibit, we walk beside a long board laid out on the floor, arranged with memorial candles and hundreds of notes written by fellow visitors. Most echo the installation’s message: “Wrapping you in love.” “Remembering all those who lost their lives and who are still healing,” and “We will dance again.”
But one hand-scrawled message breaks through: “Fuck Hamas.”
This stops me. Not because I don’t share the rage — I do. But the sentiment feels jarring here, disrupting a sense of sanctity whose contours are fully revealed in the final room.
Here, black drapes and heavy shadows give way to earth tones, warm lights, jute carpets, and macramé lanterns. Small coffee tables and wicker chairs are arranged around the space, as though we have entered a living room. Having left the horrors of Oct. 7 behind, this is a room for the living. It is also a shiva — a ritual space where visitors sit with mourners and let them speak.
People take seats, facing a Nova survivor who is regularly present at the front of the room. Articulate and composed, she begins with photos of her best friend whom she lost in the attack, and ends with a story of her own survival, and a message of not taking life for granted.
Here, the hesitations and doubts I carried into the exhibition fall away. I now understand what brought me here, and why so many others have come. It is not morbid curiosity, nor propaganda meant to justify war. It is the need to sit shiva. This space draws its power from gathering and caring for the scattered objects, and from bringing the bereaved together to witness, mourn, and remember.
The Nova Exhibition is a contemporary phenomenon, employing modern technology and immersive design to respond to contemporary trauma. Yet it draws on ancient traditions of telling and listening to stories, sitting together, gathering what was scattered, and working to stitch ourselves whole again. This cultural work remains relevant even now — more than two years later, with nearly all hostages home and bodies laid to rest. The exhibition will travel to new cities, and it should. Grief continues to unfold, and mourning takes time.
The post Why an exhibit that honors the Oct. 7 hostages still draws crowds in the U.S., even after their release appeared first on The Forward.
Uncategorized
Israeli Airline El Al Launches New Youth Points Program to Encourage Young Travelers
Illustrative: The Israeli flag carrier El Al’s airliner lands at Abu Dhabi International Airport, United Arab Emirates, Aug. 31, 2020. Photo: WAM/Handout via REUTERS
Israel’s national airline El Al has announced a new program that allows young travelers between the ages of two and 18 to earn exclusive benefits and points through flights that won’t expire until they turn 21.
El Al Young is a free program that gives youth travelers access to rewards as part of the Matmid Frequent Flyer Program, and parents or guardians can register as many youngsters as they have starting at the age of two. The young passengers can earn points by flying on El A; or Sundor and gain access to content on the curated Youth Mode in the El A; app, where they can watch videos, play games, and learn facts about aviation all while earning loyalty points every time they fly. Kids who are already members of the Matmid Frequent Flyer Program are automatically enrolled in El Al Young.
Young travelers using the app will earn points that can be redeemed for rewards such as seat upgrades and free checked baggage, booking award tickets to fly with friends, and buying snacks from onboard duty-free. El Al will launch new promotions on the app in the months ahead that will help travelers earn more points and save on fares. El Al points typically expire after 18 months but travelers in the youth program can keep their points until they are 21.
“El Al Young is a game-changer for family travel, while making every journey more fun and engaging,” said Nadav Hanin, vice president of marketing and digital at El Al Airlines. “With this program, El Al Airlines is inspiring the next generation of travelers by allowing them to earn their own points, explore Youth Mode on the El Al app, and enjoy more independence and excitement when traveling with El Al. Family travel has always been at the heart of our business, and with El Al Young, we’re strengthening that bond while creating unforgettable adventures for travelers of all ages.”
El Al operated its first scheduled flight in 1949 and now serves 49 international destinations in 33 countries. It operates more than 50 weekly non-stop flights between the US and Israel.
Uncategorized
New Art Exhibit in NYC Examines Jewish Polish Artist Arthur Szyk and His Fight Against Nazism
“The Map Maker” (1942) by Arthur Szyk. The political drawing depicts Hitler painting his version of “Deutsches Sud America” (“German South America”) which consists of a large swastika painted over the shape of South America. Photo: Provided
An exhibition that opened on Sunday in New York City spotlights the work of prolific Jewish Polish and anti-fascist artist Arthur Szyk, including scathing portrayals of the Nazis and his attention to themes such as Jewish identity, resistance, and Zionism.
“Art of Freedom: The Life and Work of Arthur Szyk” opened at the Museum of Jewish Heritage –A Living Memorial to the Holocaust in Lower Manhattan on the anniversary of when the United States entered World War II. The exhibit in the museum’s Rita Lowenstein Gallery features over 100 objects, including original drawings, rare prints, illuminated manuscripts, commercial cartoons, and political materials. Visitors will have access to 18 never-before-seen pieces and 38 original artworks.
Szyk’s work “Anti-Christ” from 1942, which is a critique of Adolf Hitler and Nazi crimes, greets visitors at the exhibit and is back on view in New York City for the first time in over 80 years. The artwork shows Nazi officials standing over skulls, victims on the gallows, vultures bearing swastikas, and Hitler with tiny skulls in his eyeballs as he stares straight ahead at the viewer.
Also on view is “The Map Maker” (1942), a political drawing by Szyk that depicts Hitler painting his version of “Deutsches Sud America” (“German South America”), which is shown as a large swastika painted over the continent. Others stand around him — including Italian dictator Benito Mussolini and top Nazi officials Joseph Goebbels, Hermann Goering, and Heinrich Himmler — and they all want their own similar map. On the floor are folders that say, “Deutsches Europa,” Deutsches America,” “Deutsches Africa,” “Deutsches Australia,” illustrating the plan to have Nazism dominate the world. Also on the floor is a book titled Idiot’s Delight and a quote at the bottom of Szyk’s drawing says, “Now that you’ve joined us the Fuhrer will make a special map for you!”
Szyk was born in Łódź in 1894 but moved to Paris at the age of 15 to study art. With other Polish-Jewish artists and writers, he traveled to the area now known as Israel in 1914, which was an impactful trip that deepened his connection to Judaism and solidified his dedication to being a lifelong Zionist advocate. Szyk died in 1951.
First Lady Eleanor Roosevelt wrote in her “My Day” newspaper column that Szyk’s work “fights the war against Hitlerism as truly as any of us who cannot actually be on the fighting fronts today.”
“As an institution committed to educating visitors about Jewish life before, during, and after the Holocaust, we are thrilled to present Arthur Szyk’s exquisitely detailed and beautiful work, and to look back at his influential role inshaping public discourse around America’s pivotal entry into WWII,” said Jack Kliger, president & CEO of the Museum of Jewish Heritage.
The new Szyk exhibit highlights pieces by Szyk that are on loan from private collections as well as newly acquired pieces from the museum’s permanent collection, which will be on view for the first time. The exhibit will remain open at the Museum of Jewish Heritage through July 26, 2026.
Uncategorized
Netanyahu Will Meet Trump on Dec. 29 to Discuss Second Phase of Gaza Plan, Spokesperson Says
US President Donald Trump and Israeli Prime Minister Benjamin Netanyahu reach to shake hands at a joint press conference in the State Dining Room at the White House in Washington, DC, US, Sept. 29, 2025. Photo: REUTERS/Jonathan Ernst
Israeli Prime Minister Benjamin Netanyahu will meet US President Donald Trump on Dec. 29 to discuss the next steps of the Gaza ceasefire, an Israeli government spokesperson said on Monday.
“The prime minister will meet with President Trump on Monday, Dec. 29. They will discuss the future steps and phases and the international stabilization force of the ceasefire plan,” Shosh Bedrosian said in an online briefing to reporters.
The prime minister’s office said on Dec. 1 that Trump had invited Netanyahu to the White House. Israeli media have since reported that the two leaders may meet in Florida.
The spokesperson’s comments came one day after Netanyahu said on Sunday that the second phase of a US plan to end the war in Gaza was close, but cautioned several key issues still needed to be resolved, including whether a multinational security force would be deployed.
Netanyahu, speaking to reporters alongside German Chancellor Friedrich Merz in Jerusalem, said that he would hold important discussions with Trump at the end of the month on how to ensure the plan‘s second phase was achieved.
Netanyahu said that he would discuss with Trump how to bring an end to Hamas rule in Gaza. A ceasefire between Israel and Hamas is entering its second month, although both sides have repeatedly accused each other of violating the truce agreement.
Netanyahu said that it was important to ensure Hamas not only upholds the ceasefire but also follows through on “their commitment” to the plan to disarm and for Gaza to be demilitarized.
Israel retained control of 53% of Gaza under the first phase of Trump‘s plan, which involved the release of hostages held by terrorists in Gaza and of Palestinians, many convicted of terrorism, detained by Israel. The final hostage remains to be handed over are those of an Israeli police officer killed on Oct. 7, 2023, while fighting Hamas-led Gazan militants who had invaded Israel.
“We’ll get him out,” Netanyahu said.
Since the ceasefire started in October, the terrorist group has reestablished itself in the rest of Gaza.
GERMAN CHANCELLOR: PHASE TWO MUST COME NOW
According to the plan, Israel is to pull back further in the second phase as a transitional authority is established in Gaza and a multinational security force is deployed, Hamas is disarmed, and reconstruction begins.
A multinational coordination center has been established in Israel, but there are no deadlines in the plan and officials involved say that efforts to advance it have stalled.
“What will be the timeline? What are the forces that are coming in? Will we have international forces? If not, what are the alternatives? These are all topics that are being discussed,” Netanyahu said, describing them as central issues.
Merz said that Germany was willing to help rebuild Gaza but would wait for Netanyahu‘s meeting with Trump, and for clarity on what Washington was prepared to do, before Berlin decides what it would contribute but that phase two “must come now.”
Israel has repeatedly carried out air strikes since the ceasefire came into effect that it says are fending off attacks or destroying terrorist infrastructure.
NETANYAHU: WEST BANK ANNEXATION REMAINS A SUBJECT OF DISCUSSION
Netanyahu said that he would also discuss with Trump “opportunities for peace,” an apparent reference to US efforts for Israel to establish formal ties with Arab and Muslim states.
“We believe there’s a path to advance a broader peace with the Arab states, and a path also to establish a workable peace with our Palestinian neighbors,” Netanyahu said, asserting Israel would always insist on security control of the West Bank.
Trump has said he promised Muslim leaders that Israel would not annex the West Bank, where Netanyahu‘s government is backing the development of Jewish settlements.
The “question of political annexation” of the West Bank remains a subject of discussion, Netanyahu said.