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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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Stop Platforming Bigotry and Hate: We Can’t Build Bridges with Destructionists
US Rep. Alexandria Ocasio-Cortez (D-NY). Photo: Mike Jourdan/Flickr.
A society that cannot distinguish between a critic and a destructionist is a society in the process of dismantling itself.
For decades, the leaders of Western institutions — universities, legacy media, and political think tanks — have operated on the Liberal Consensus Model. This model assumes that every stakeholder, no matter how radical, ultimately wants a seat at the table to negotiate a better version of the status quo.
But we are currently witnessing the total collapse of this assumption. Institutions are mistaking a siege for a negotiation.
The “Destructionist” does not want a seat at the table; they want to use the wood for kindling. When an institution offers a “bridge” to someone whose starting premise is the dismantling of liberal democracy or the erasure of a people, they aren’t practicing “inclusion.” They are providing a tactical ramp for an assault.
This is not a “Left” or “Right” problem; it is a vulnerability of the center. Across the political spectrum, we see the same mechanics of “laundering” at work — where moderate leaders trade their institutional credibility for access to a radical’s megaphone.
On the left, we see the normalization of figures like Hasan Piker. When the “Pod Save America” crew or politicians like Alexandria Ocasio-Cortez (D-NY) treat Piker as a “bold youth voice,” they are signaling that his destructionist starting points — such as supporting the eradication of Zionism — are within the bounds of a reasonable democratic coalition.
They frame it as “outreach,” failing to realize that they are importing eliminationist rhetoric into the heart of the mainstream.
On the right, the rot is equally visible in the laundering of Tucker Carlson. When Kevin Roberts, President of the Heritage Foundation, or politicians like Vice President JD Vance defend Carlson even as he platforms Holocaust revisionists and Nazi apologists, they are breaking a decades-old covenant. By framing Carlson’s descent into conspiratorial bigotry as “challenging the establishment,” they are laundering a brand of hatred that was rightly ostracized from the movement generations ago.
In both cases, these “bridge-builders” suffer from a form of institutional narcissism: the belief that their own empathy or political utility is powerful enough to transcend a destructionist ideology. They believe they can negotiate a floor plan with an arsonist who has already lit the match.
It is common to lump these figures in with Joe Rogan, but the distinction is critical for understanding where our accountability must lie.
Rogan is a private citizen having a public conversation. While he causes undeniable material harm by uncritically platforming bigoted views –and we should absolutely pressure him to do better — he is fundamentally only representing himself.
Conversely, we must hold the Ezra Kleins, the Jon Favreaus, and the Heritage Foundations to a far higher standard because they represent institutions. When a gatekeeper stops guarding the gate on behalf of an institution, the gate ceases to exist. Rogan is a symptom of a culture that finds fire interesting; these institutional leaders are the architects who were supposed to be building the firewalls. Their failure is not just an error in judgment; it is professional malpractice.
The solution is not state-censorship, but a renewal of communal self-respect. We must re-learn the lesson of how we defeated the KKK: we didn’t “win the debate” at a shared seminar; we made the white hood socially disqualifying.
The path forward requires a two-fold strategy:
1. Enforce “Social Jail”
We must return to a model of principled ostracization. If your starting point is the destruction of a people or the subversion of the democratic covenant, you belong in “social jail.” This is not “cancel culture” — which often offers no path back — but a boundary. Social jail allows for repair. When an individual renounces the destructionist framework and demonstrably accounts for the harm they’ve advocated through public renunciation and restorative action, the door can be reopened. But until then, the line must be held.
2. Critical Friction vs. Laundering
Journalists and pundits must stop acting as facilitators. If they choose to engage with these figures, the “friendly engagement” model must be replaced with hostile exposure. You can interview an arsonist about why he likes fire, but you don’t hire him as a fire safety consultant.
The standard defense for this laundering is the phrase: “I don’t agree with everything he says.”
In the context of eliminationist bigotry, this is not a defense; it is a confession of moral cowardice — or at best, professional dereliction. To be a journalist or a civic leader is to have the courage to name the “tripwire.” If you platform a bigot, you have a professional obligation to state, explicitly, which of their hateful taboos you oppose. If you refuse to name the bigotry — if you treat it as a mere “difference of opinion” — you are not conducting an interview; you are providing a sanitation service.
We have spent years building bridges with people who are committed to destroying them. We have watched as they used those bridges to infiltrate our schools, our media, and our political parties.
It is time to stop being the architects of our own demise. If we cannot say “No” to those who wish to see our foundations destroyed, our “Yes” to progress and our democratic system will eventually mean nothing at all. We must stop exhausting our moral vocabulary on minor transgressions so that we have the collective clarity required to name the destructionists for what they are.
It is time to stop building the bridge and start holding the line.
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78 Years Later, the Palestinian Authority Still Dreams of Israel’s Demise
Lebanese President Joseph Aoun meets with Palestinian Authority President Mahmoud Abbas at the presidential palace in Baabda, Lebanon, May 21, 2025. Photo: REUTERS/Mohamed Azakir
As Israel celebrates the 78th anniversary of its Independence, the Palestinian Authority (PA) and its government-run media continue to promote the ideology that Israel has no right to exist and is a temporary “occupation” that will soon vanish.
Here are some examples that Palestinian Media Watch (PMW) has documented recently:
PA Jerusalem District Spokesman Ma’arouf Al-Rifai: “Ever since Allah created this land, we have continued to live here and defend it, we are the spearhead on defending these holy sites.
The occupation [i.e., Israel] is ultimately destined to disappear.” [emphasis added]
[Official PA TV, Individuals, Jan. 31, 2026]
Palestinian National Council member Dr. Shafiq Al-Talouli: “This state [i.e., Israel] is revealing the true face of the occupation that has stolen Palestine since 1948, and which relies on the same ideology of carrying out forced expulsion, and which strives through the use of force, committing massacres, starvation, and the like to remove the Palestinian people from its land.” [emphasis added]
[Official PA TV, Topic of the Day, Nov. 6, 2025]
Official PA TV programs, interviews, and documentaries repeat the ideology that Israel’s existence is temporary:
Official PA TV Israeli affairs “expert” Nizar Nazzal: “Palestine is the compass, and here the empires crashed down. Whether it was the Mongols, the Crusaders, or others. Therefore, these empires [i.e., Israe] too, here on the land of Palestine, will crash down.” [emphasis added]
[Official PA TV, Topic of the Day, Jan. 20, 2026]
The PA tells its people that Israelis, deep down, agree that Israel is doomed:
Official PA TV narrator: “Even in the depths of the Israeli public, there is an understanding that their presence here is temporary. The dual citizenship of the soldiers and settlers is not just a coincidence but rather an escape plan ready to be executed if the balance of powers changes.”
Jurist Sufian Siyam: “The Israeli knows in his subconscious mind that his existence on this land is temporary. …In 2006, there was an Israeli soldier named Gilad Shalit. We were surprised to discover later that Gilad Shalit has French citizenship … Israeli soldier Edan Alexander [a hostage captured and released during Hamas’ Oct. 7 war] has American citizenship. Why do the Israeli soldiers and Israeli civilians insist on having another citizenship besides Israeli citizenship? Because deep in his heart, his grandfather before him and his son after him knew that his existence on this land is temporary.” [emphasis added]
[Official PA TV, Time Without Ceasefire, Jan. 28, 2026]
Whether from PA officials or its state media, the message to Palestinians remains constant: Israel has no right to exist, Israel is temporary, Palestinians are permanent, and time will erase the Jewish State.
At the same time, the PA continues to demand Western governments fund this culture of hate and rejectionism while choosing to look the other way.
The author is a contributor to Palestinian Media Watch, where a version of this article first appeared.
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PA Libel: Jewish Scripture Says Non-Jews Are ‘Pigs in the Form of Humans to Serve the Jews’
Palestinians shout slogans at the compound that houses Al-Aqsa Mosque, known to Muslims as Noble Sanctuary and to Jews as Temple Mount, following clashes with Israeli security forces in Jerusalem’s Old City April 15, 2022. REUTERS/Ammar Awad
In addition to its eliminationist rhetoric, the Palestinian Authority (PA)’s brainwashing of its people is ongoing and effective.
Palestinian Media Watch regularly documents that ordinary Palestinians echo the antisemitic and Nazi-like statements by PA leaders and officials. The PA portrays Jews as being “arrogant by nature,” and planning to “subjugate the entire world.” Palestinian citizens adopt and repeat these teachings.
Accordingly, anti-Israeli activists spread the libel that the Jewish Talmud teaches that non-Jews are “pigs in the form of humans [created] to serve the Jews”:
Anti-Israeli activist in the Jordan Valley Ayman Ghraib: “The colonialism began in the [Jewish] religious schools where the colonialists [i.e., Jews] were educated to hate the Arabs and Palestinians and everything that is not Jewish.
We have obtained booklets that contain an exact quote from the Talmudic text — that non-Jews are pigs that God created in the form of humans to serve the Jews … In their religious books it is written that Allah created this [olive] tree for the Jews … and if they cannot enjoy its fruits, they should burn it.” [emphasis added]
[Official PA TV, Crops, April 6, 2026]
The Talmud contains no such statement about non-Jews being pigs.
Even as Palestinians falsely accuse Jews of dehumanizing non-Jews, the PA itself portrays Jews as sub-human.
In the words of PA leader Mahmoud Abbas’ advisor, Jews are “grazing herds of humanoids … apes and pigs.” Recently, a Palestinian in Lebanon expressed a similar view, saying Jews are “pigs and donkeys”:
Lebanese singer and actor Abd Asqoul: “The enemy [Israel] is very stupid. He does not understand that it is impossible, regardless of what will be, there is something that lives inside us [Palestinians] … But this pig is not just a pig, he is a donkey who does not understand.
He thought my identity is a few papers and flour, and it escaped him that I am from the seed of heroes. .. My identity is land and rock and the sand of the beaches with shells and the blue color in their waters, from Rosh Hanikra [i.e., on Israel’s northern border] to proud Umm Al-Rashrash [i.e., Eilat, Israel’s southern border].” [emphasis added]
[Official PA TV, The Creativity of the Refugee Camp, Jan. 20, 2026]
The Palestinian Authority’s antisemitism also portrays Jews as the “enemy of humanity.” A Palestinian academic and former PA deputy minister stressed this recently, specifying that Jews are not only the “enemy” of Palestinians, but of all “humanity”:
Bethlehem University political science lecturer and former PA Deputy Minister of Jerusalem Affairs Sa’id Yaqin: “Jerusalem … is also the strongest symbol in this conflict, which is being waged with this enemy [i.e., Israel]. This is the enemy of humanity and not of the Palestinian people.” [emphasis added]
[Official PA TV, March 14, 2026]
The author is the Founder and Director of Palestinian Media Watch, where a version of this article first appeared.