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Israel and US go for regime change in Iran, with leaders few trust
TEL AVIV, Israel — We were woken just after 8 a.m. by a siren, followed within minutes by the notification that there were in fact no incoming missiles. It appeared the government had decided to use the alert system as a kind of national alarm clock, to let the country know that the war had begun. For the second time in nine months, Israel had attacked Iran. This time it was in coordination with the United States.
Within the hour we had already been sent to the shelter by an actual missile alert. By midday, we would make that trip five times. The country, as far as one can tell from the stairwells and the WhatsApp groups, is stoic. Irritated, tired, but stoic. This is absurd, people say, but they lace up their shoes and head downstairs anyway. Or to the reinforced safe rooms that the lucky few have.
The arguments for this round of conflict are not, on the surface, overwhelming. After the 12-day war in June, Prime Minister Benjamin Netanyahu declared that Iran’s nuclear and ballistic missile programs had been set back for many years, that the major threat to Israel’s existence had been removed. President Donald Trump, after American B-2 bombers joined on the final day, spoke repeatedly of the nuclear threat being “obliterated” at Fordo, Natanz and Isfahan. He bristled at intelligence assessments suggesting otherwise.
There has been little public evidence that Iran rebuilt that threat in the interim. Netanyahu said around midday Saturday in a recorded radio address that Iran’s new capabilities were being placed underground. Trump, meanwhile, demanded that Iran forswear nuclear weapons; but Tehran has long said it does not seek them, even as it enriched uranium to levels with no civilian justification. No one believes them. But they have been saying it.
In the shelter, I had time to contemplate all this with the same cast of neighbors I got to know rather well in June.
The divorced lawyer and her boyfriend. The mathematics divorcee with her enormous dog, which takes up the space of two folding chairs. The sweet elderly couple who sit holding hands, as if the room were a train platform and they might be separated. The religious French family from upstairs preparing to celebrate a son’s 18th birthday; the mother, improbably, in her finest dress at 9 in the morning. Everyone bleary-eyed. Everyone attempting humor. Some trepidation, but not much.
At one point a commotion erupted. Someone had noticed that a shop in the building had installed an air-conditioning unit in such a way that it partially blocked the emergency exit from the underground shelter. The prospect of being herded underground because of missiles while potentially trapped was not exactly welcome. My wife calmly announced she would deal with the management company first thing Sunday morning. I know her. She will.
It is in rooms like that that the big questions feel both distant and unavoidable. Why now? If the programs were truly crippled in June, what has changed? One possible answer lies not in centrifuges but in politics.
Trump had boxed himself in last month when he told Iranian protesters that “help is on its way.” Thousands, perhaps tens of thousands, took him at his word and were killed by the regime’s goons. Trump took heat for having encouraged them and then done nothing. He looked ridiculous, and — to paraphrase The Godfather — a man in his position cannot afford to look ridiculous.
In the interim, the U.S. steadily built up an armada in the region. Ships and planes accumulated in a way that was slow, but deliberate and ultimately overwhelming. It began to look like the kind of force that was not likely to go unused.
The more reasonable argument for assuming the risks of war — casualties, disruption in the oil markets, escalation and so on — is regime change. That idea has a grim history. It rarely works as intended. It is unpredictable, destabilizing, morally fraught. The record in the Middle East is not encouraging. The legal right to do it is debatable at best.
But there are exceptions, and the Islamic Republic, in its 47 years, has made a compelling case for being one.
Its internal repression is ferocious. Protesters are shot or imprisoned in numbers that make gradual reform a fantasy. Short of a palace coup, the Iranian people have little chance of dislodging their rulers on their own.
Moreover, Iran has destabilized the region for decades through proxy militias trying to spread jihadism: Hezbollah in Lebanon, the Houthis in Yemen, Shiite militias in Iraq, Palestinian Islamic Jihad and Hamas. Hezbollah helped prop up Bashar al-Assad’s regime in Syria. Hamas’s Oct. 7 attack ignited a war that left tens of thousands dead in Gaza and over a thousand murdered in Israel. Not every evil in the region can be laid at Iran’s door, but a significant share can, and much of it has victimized fellow Muslims.
There is a wide consensus in Israel that the Iranian regime is a menace. Many Israelis believe that if it fell, it would be good for Israel and good for the Iranian people. They harbor a romantic notion that a democratic Iran would become a partner, even an ally, and that ordinary Iranians would thank Israel for helping to bring about that outcome. Whether that is naive is another matter, but the distinction between regime and people is real in the Israeli mind.
And in what was perhaps the only surprise of the day — for the attack itself was widely telegraphed — Trump set regime change as the true aim of the operation in his comments announcing the strikes. In his characteristic rambling, self-congratulatory style, he urged Iranians to take over their government — and catalogued the crimes of the regime, going all the way back to the 1979-80 hostage crisis at the U.S. embassy in Tehran.
This from a man whose National Security Strategy, released in December, downplayed democracy promotion, and who has shown little affection for liberal norms at home or abroad. Many assumed he wanted only some agreement he could spin as a win — yet he instead seems intent on transforming Iran.
Might regime change actually work? Without a ground invasion — which is neither contemplated nor remotely plausible — the odds seem low. Authoritarian systems are designed precisely to absorb shocks. Enough of the regime would have to be symbolically and practically shattered — key figures eliminated, command centers wrecked, the aura of invulnerability broken — that mass protests resume at a scale the authorities cannot contain.
The calculation appears to be that sustained external pressure, combined with visible regime weakness, could tip internal dynamics. A military already stretched by external attack might find itself unable, or unwilling, to suppress millions in the streets. What follows would not be a popular revolution in the romantic sense but something closer to a palace coup: factions within the system deciding survival requires abandoning the clerical leadership.
Trump’s rhetoric suggested precisely this. His call for the Revolutionary Guard to stand down, coupled with promises of amnesty, is an attempt to split the regime from within, to persuade those with guns that their future lies in defecting rather than fighting. It could work — because that is how hated the regime actually is.
It would have been better for any such action to have gotten the green light from the United Nations Security Council. But — even beyond Trump’s disrespect for the organization — that body is paralyzed by the veto power of Russia, Iran’s sometimes ally.
Moreover, all of this would be easier to deal with if the leaderships in Israel and the U.S. were trusted at anywhere near a normal level. But we are dealing with Trump and Netanyahu.
Trump, it need hardly even be said, has made dishonesty a kind of performance art. He is the most determined dissembler to ever hold the American presidency, as far as I can tell. It has become something of a joke, in America and across the world. In a moment like this, it is not a joke. So in a crisis that could reshape the region, there is no reliable way to know if his claims are true.
Something even worse can be said of Netanyahu, who is on trial for bribery and trailing badly in the polls ahead of elections that must be held by October and could come sooner. It is axiomatic for many Israelis that he would do anything to cling to power, including starting another war.
So these two men, each viewed by large portions of their publics as self-interested and manipulative, now preside over a conflict that could be ruinous.
And yet there is another astonishing layer. Trump, who has damaged the standing of the U.S., abandoned Ukraine, expressed admiration for Russian President Vladimir Putin and rattled NATO with talk of seizing Greenland from Denmark, may be on the verge of a historic achievement. If the Iranian regime were to fall with American assistance, it would rank among the most consequential geopolitical events of the past half-century, perhaps second only to the collapse of Soviet communism. Oddly, I am old enough to have witnessed that as well, as a correspondent for the Associated Press.
Back in the shelter, there is a massive improvement relative to June: Wi-Fi has been installed, thanks to my tireless wife. The dog is still panting, the elderly couple still holds hands, the air-conditioning unit still blocks the exit, the French mother is now checking her phone between sirens.
It is possible to feel two contradictory things at once. This might be a reckless, perhaps even insane action launched by unworthy leaders. And it might, just possibly, change everything for the better.
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A century-old Jerusalem photo album sparks search for forgotten images of the Western Wall
(JTA) — When David Freedman discovered a long-forgotten photo album in his parents’ Montreal basement last year, he found nearly 100 pages of century-old photographs from his grandfather’s year in British Mandate Palestine, capturing Jerusalem street scenes, market stalls and holy sites.
The photographs were not only century-old and in near-perfect condition, but included figures who would later become central to Jewish medical and political history, among them Israel’s future first president Chaim Weizmann, Jerusalem ophthalmologist Abraham Ticho, malaria researcher Israel Kligler, future British prime minister Winston Churchill and Herbert Samuel, Britain’s first high commissioner for Palestine.
David Freedman said he knew he had “struck gold” when he found the album, which had been untouched for decades. “I realized in disbelief I was looking at extraordinary images of Jerusalem,” he said.
Though Freedman said the album showed his grandfather’s “passion for skillful, impromptu photography,” it was images of a site that epitomizes endurance that are having the broadest impact.
Freedman’s pictures of the Western Wall has inspired a public appeal by the Tower of David Jerusalem Museum, which is asking people to look through old albums and attics for photographs, postcards and other visual material that could help expand the historical record of Judaism’s holiest site.
The request comes ahead of a major exhibition opening in 2027 marking 60 years since the 1967 Six-Day War brought the wall, known in Hebrew as the Kotel, under Jewish control for the first time in nearly two millennia.
Although the Western Wall is now one of the most photographed sites in the world, museum curators say the visual record of earlier decades remains surprisingly fragmented, with many of the most intimate images likely still tucked away in private collections and family albums.
“The Western Wall, the Kotel, in its simplest form, is a structure of ancient stones. Yet its true meaning has never resided in the stones alone — it has been shaped and elevated by the countless individuals who have stood before it over the centuries,” Eilat Lieber, the museum’s director and chief curator, said in a statement.
Next year’s exhibition, titled “Eyes on the Wall” and curated by Shimon Lev and Yael Brandt, will be the first large-scale exhibition dedicated entirely to the Western Wall, the museum said, and will trace its transformation over nearly 2,000 years. It will be one of the major exhibitions staged by the Tower of David Museum since it reopened in 2023 after a $50 million renovation of its ancient citadel complex.
The wall, the exposed section of an ancient retaining wall around the Temple Mount, the site of the biblical Jewish temples, has long been Judaism’s most sacred places of prayer and pilgrimage. From 1948 until the 1967 Six-Day War, when Israel captured the Old City and East Jerusalem from Jordan, Jews were barred from going there.
Among its most iconic images was David Rubinger’s photograph of three Israeli paratroopers standing at the wall shortly after its capture, looking upward in a mixture of awe and disbelief. The picture was taken 59 years ago this week.
Abraham Orkin Freedman, a Canadian physician and Zionist activist, took his photographs before the site was so contested. He arrived in Palestine in July 1920, just as Britain was replacing military rule with a civil administration, and stayed until 1922, serving during that period as managing director of Hadassah Hospital. His grandson David, also a doctor, said the album’s timing gives it much of its historical value, with photographs that capture people in the streets, as well as the terrain and buildings of Jerusalem during the nascent years of the British Mandate.
Among the images Freedman uncovered, the one that struck him most was a photograph of women praying side by side with men at the oldest part of the Western Wall, a scene far removed from the gender-separated prayer sections at the site today. The question of mixed-gender prayer at the Wall remains politically charged, with a recent High Court order to advance the egalitarian section followed by Knesset moves to strengthen Chief Rabbinate control over prayer at the site.
After recognizing the album’s significance, Freedman met with his family who decided collectively to give it to the Tower of David Jerusalem Museum for safekeeping, research and public access. Freedman said the family was proud the album had found “a new home, not many meters from where my grandfather once stood.”
Lev said he hoped the appeal would bring more discoveries like Freedman’s into public view, expanding the visual record of the Western Wall beyond official archives.
“There is something profoundly moving in the moment when an intimate private photograph transcends its original purpose and becomes an important historical testimony,” Lev said.
This article originally appeared on JTA.org.
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5th man charged in March arson of London’s Hatzola ambulances
(JTA) — Britain’s Crown Prosecution Service announced Tuesday that an 18-year-old man has been charged in connection with the March arson attack that destroyed four ambulances owned by Hatzola, a Jewish volunteer emergency service.
Subhan Ahmed, a British national, was charged on Monday with “assisting an offender” in connection with the arson.
The ambulances were set ablaze in the early morning of March 23 in Golders Green, a heavily Jewish neighborhood in London. The incident spurred increased patrols in Jewish communities.
The charge is the latest development in an investigation being led by the Metropolitan Police’s counter-terrorism unit.
Four others have already been charged in connection with the attack.
Three British nationals — 20-year-old Hamza Iqbal, 19-year-old Rehan Khan and 18-year-old Judex Atshatshi — along with a 17-year-old dual British and Pakistani national were all charged in April with “committing arson, destroying or damaging property, and being reckless as to whether life would be endangered.”
The four have remained in custody ahead of a trial planned for January. Ahmed, meanwhile, was released ahead of a June 16 court date.
The ambulance arsons came at the early edge of a wave of incidents that have put London Jews on edge and induced the city’s police force to step up their presence in Jewish communities. The incidents have included multiple incendiary devices placed near synagogues as well as the stabbing in April of two Jewish men in Golders Green. The Metropolitan Police reported last week that antisemitic hate crimes in the capital rose 72% in May.
Following the announcement of Ahmed’s charge, the Community Security Trust, a Jewish organization, thanked the police and the Crown Prosecution Service “for their ongoing work investigating this attack and other arson incidents targeting the Jewish community.”
It added in a statement, “These are very serious allegations, and it is right that those responsible are being held accountable.”
This article originally appeared on JTA.org.
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Israel boycott battle intensifies at Venice Art Biennale, testing tradition of inclusion
The anti-Israel protests that disrupted the opening of the Venice Art Biennale continue to escalate, with more than 100 artists and curators declaring last week that they will bring legal action against Biennale authorities if their names are not removed from consideration for what in normal times are coveted awards for best artist and best national exhibition.
It’s just the latest battle between activists seeking to shut down Israel’s art exhibition in Venice and the Biennale’s administration who are committed to keeping it open.
Chaos erupted in the streets on the third day of the biennale’s opening last month as demonstrators engulfed the Via Garibaldi chanting Palestinian liberation slogans during their march toward an art exhibit hosted by Israel, held back by Italian police in riot gear. The demonstration was organized by the Art Not Genocide Alliance (ANGA), a coalition of artists and art industry workers campaigning to ban Israel from participating in the world’s most prestigious art show.
ANGA’s agenda is reverberating throughout the Biennale, which is structured around a main international show that this year is hosting 110 invited artists, 100 national exhibitions and 31 official art shows. Many of the artists now threatening legal action first signed a letter this past March demanding that the directors of the Biennale exclude Israel’s exhibition from the show.
Just before the exhibition opened, the Venice Biennale’s five-member international jury — which oversees the prestigious Golden Lion for best artist and best national pavilion — announced that, in keeping with the spirit of the main international exhibition curated by the late Cameroonian art impresario Koyo Kouoh, who appointed them, it would “refrain from considering those countries whose leaders are currently charged with crimes against humanity by the International Criminal Court” — namely, Russia and Israel.
Belu-Simion Fainaru, representing the Israeli pavilion, reportedly responded by threatening that if he were excluded from consideration for the awards, he would sue the Biennale in the European Court of Human rights on grounds of antisemitism and nationality-based discrimination. Facing potential legal liability, all five jurors took the unprecedented step of quitting. The Biennale administration then announced that the juried awards would be replaced with Visitor Lions Awards, a popular vote by visitors to the show.
It’s that substitute award that the ANGA-allied artists are now renouncing.
There also have been attempts from the other end of the political spectrum to silence artists representing South Africa and Australia because of alleged anti-Israeli biases. Indeed, the 2026 Biennale, which opened on May 9 and runs through November 26, has become a referendum on artistic freedom of expression and on the place in the cultural sphere of the movement to boycott Israel. “Boycott the Genocide Pavilion,” the brochure ANGA demonstrators handed out at their demonstration stated, “For decades, the Venice Biennale has handed Israel an international stage to culturewash its occupation of Palestine,” and stated that in doing so Biennale authorities are helping to “normalize the ongoing decimation of an entire population.”
The president of the Venice Biennale, Pietrangelo Buttafuoco, has refused to cede ground. “Closing the door to some means making openness to others more fragile,” he argued in an impassioned speech announcing the opening of the Biennale’s 61st International Exhibition, adding, “if the Biennale began selecting not works but affiliations, not visions but passports, it would cease to be what it has always been: a place where the world meets, especially when the world is torn apart.”
Serene space
When I stepped into the Israeli exhibition, it seemed to be an invitation to leave behind the fractious world outside. The transcendent artwork, inspired by Paul Celan’s poetry, consists of a large rectangular pool in a tranquil space where the only interruption is the soothing sound of dripping water.
Given Israel’s destructive bombing campaigns, first in Gaza and now in southern Lebanon, presenting Fainaru and his serene artwork to represent the country is a fraught choice. Fainaru lives in Haifa, one of Israel’s most culturally diverse cities, and is a professor at Haifa University, where he told me the rector is Palestinian and more than 50% of his students are Arabs. Fainaru said that his art is about bringing people together and “collective consciousness,” and he argued it should be viewed outside of the political prism that has roiled the Biennale in recent years. “This environment is becoming more and more about boycott, censorship, limitation of freedom, exclusion,” he said, adding “that’s changing the meaning and role of art.”
Some observers who study censorship say the national pavilions at the Venice Biennale have always functioned as cultural diplomacy and in many instances are a form of “artwashing,” a term that refers to the ways that governments and corporations utilize art exhibits to obscure or gloss over unethical policies.
“Clearly they are an attempt to make a country look better, but on the other hand there is something in the art that exceeds the national ambitions,” Svetlana Mintcheva, former director of programs at the U.S,-based National Coalition Against Censorship, said in a phone interview, adding: “It’s counterproductive to censor because it then homogenizes everyone in that particular country as holding particular ideas and that’s not the case.”
The censorship campaign against Israel and Russia took place against the backdrop of the main international exhibition “In Minor Keys,” which emphasizes anti-colonialist themes and the utility of art as a means of reconnecting to local and indigenous practices. The leitmotif of the show, which primarily emphasizes art from the African diaspora, chimes with ANGA’s agenda to give voice to a Palestinian culture that the group claims has been sidelined by Israel’s “colonial expansion.”
Some artworks in the international exhibition address the Palestinian displacement and trauma, while none deal with Hamas’s Oct. 7 massacre or Israel’s wounds.
Gazan artist Mohammed Joha, who signed a March 26 ANGA petition calling for the exclusion of the Israeli pavilion, is exhibiting No Shelter, which the artist made while witnessing the conflict in Gaza. The work consists of collages made from discarded paper, fabric and cardboard intended to call attention to the cycles of destruction and rebuilding that Palestinians endure. Haitian artist Manuel Mathieu’s Genocide portrays a dark sea alongside what looks like pummeled charred flesh. British Ethiopian artist Theo Eshetu’s Garden of the Broken Hearted includes a rotating dais with a live olive tree, a symbol of Palestinian resilience.
And Kouoh and her team gave pride of place in her show to artists who have been victims of Israel’s conflicts. The very first exhibit to greet visitors at the entrance of the massive Arsenale, a brick linear hall serves as the main exhibition space, which t originally was part of Venice’s Renaissance-era ship building complex, features the poem “If I must Die,” by Palestinian poet Refaat al-Areer, which he posted to social media in late 2023, about a month before he was killed along with several of his family members by an Israeli airstrike in Gaza. The poem, which has become a rallying cry for Palestinian activists, sits below a canvas portraying a disembodied face with penetrating eyes against a fractured background by Issa Samb, a Senegalese artist known for his anti-colonial themes.
The subsequent exhibition at the Arsenale is a monumental multi-media installation titled Khalil by Australian artist Khaled Sabsabi, a former refugee from the 1976 Lebanese Civil war. Sabsabi is also representing Australia at its national pavilion in the nearby Giardini fairground.
Khalil, which was originally intended to be displayed at the Australian Pavilion, was intended as a meditation on Sufi mysticism. It consists of digital projections on a canvas painted in acrylic with swirling shapes, accompanied by sonorous background music and the piped in scent of Oud, which is used in Middle Eastern perfumery.
But Kouoh’s invitation to Sabsabi to exhibit at the Arsenale, which she extended after he was temporarily disinvited from showing the work at the Australian Pavilion, appears to have as much to do with his notoriety as it does his artistic merit. Sabsabi’s commission to exhibit at the Australian Pavilion was canceled after conservative Australian members of parliament and right-wing newspapers denounced him as promoting antisemitism and terrorism over work he had produced in the past, notably YOU, a 2007 multimedia piece that portrays multiple images of former leader Hezbollah leader Hassan Nasrallah.
Australia’s Museum of Contemporary Art (MCA), where the You is on permanent display, originally described the artwork on its website as “obscuring Nasrallah’s face with beams of light that shine from his eyes and mouth, suggestive of a divine illumination.” But last year, after Sabsabi was dropped from representing the Australian Pavilion, the MCA engaged in an act of self-censorship by removing the section of text deifying Nasrallah and updating the description of the artwork to inform viewers that: “The Australian Government listed the entirety of Hezbollah as a proscribed terrorist organization in 2021.”
Meanwhile, subsequent larger furor in the international arts community over Sabsabi’s being censored led to an independent review, which resulted in the reinstatement of his invitation to show at the Australian Pavilion, greatly raising his profile.
Another controversial figure is Gabrielle Goliath, the video and performance artist invited to represent South Africa, was the only artist to be officially banned. Elegy, the work she had planned to show, is a performative piece about gender and LGBT violence that has also addressed the killing and displacement of Palestinian women. But Goliath’s commission was canceled and the South African pavilion shuttered by the country’s culture minister Gayton McKenzie, a vocal supporter of Israel, who reportedly deemed Elegy “highly divisive in nature and relates to an ongoing international conflict that is widely polarizing.”
After an unsuccessful lawsuit accusing the South African government of unlawfully revoking her commission, Goliath was relegated to presenting Elegy in a rented church in Venice. This version of the work she exhibited there features eight “funereal screens,” with women singing and commemorating female victims of violence, including a murdered South African student and the Palestinian poet Heba Abunada, who was killed in an Israeli airstrike on Gaza in 2023.
The closing of the South African pavilion didn’t stifle Goliath’s voice and, as with Sabsabi, the controversy over her being canceled may have given her a larger platform. After Venice, Elegy will be traveling to London before moving onto Milan.
It’s difficult to imagine Fainaru’s message of “collective consciousness” finding a similar welcome in arts venues throughout Europe and the United States.
Recent events in Venice and elsewhere suggest that the cultural boycott campaign is gaining momentum, putting freedom of expression under increasing strain. And it’s not just principles that are at stake. Closing Israel’s exhibition in Venice and further marginalizing Israeli artists works at cross-purposes with efforts to achieve mutual understanding and peace in the Mideast. “The price of cultural boycotts is quite high, says Mintcheva of the National Coalition Against Censorship, “because you limit any kind of exchange and you limit understanding of dissent within a country like Israel.”
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