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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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US Lawmaker Introduces Bill to Deport Immigrants With Extremist Ideologies

US Rep. Chip Roy (R-TX) leaves the House Republican Conference caucus meeting in the US Capitol on April 15, 2026. Photo: Bill Clark/CQ Roll Call/Sipa USA via Reuters Connect

US Rep. Chip Roy (R-TX) has introduced sweeping legislation aimed at expanding the federal government’s authority to deport, denaturalize, deny US citizenship, and refuse entry to immigrants tied to extremist ideologies, including socialism, communism, and Islamic fundamentalism.

The legislation, titled the MAMDANI Act, short for Measures Against Marxism’s Dangerous Adherents and Noxious Islamists, is a direct political reference to New York City Mayor Zohran Mamdani and what conservatives describe as a growing alliance between far-left anti-Israel activism and Islamist extremism.

Mamdani, a far-left democratic socialist and avowed anti-Zionist, has made anti-Israel activism a cornerstone of his political career and been widely accused of promoting antisemitic rhetoric.

In a statement, Roy argued that the legislation would increase the government’s capability to filter out potential immigrants with anti-American, anti-Western ideologies.

“Not just for the last six years, but for the last 60 years, our immigration system has been cynically used to disadvantage American workers’ competitiveness in favor of mass-importing the third world,” Roy added. “This has not just led to higher crime and lower wages, but also the promulgation of hostile ideologies fundamentally opposed to American values.”

Roy said the bill is intended to confront what he called a “Red-Green Alliance” between far-left and Islamist extremists that has fueled antisemitism, anti-American radicalism, and support for terrorist organizations under the guise of progressive politics.

“By targeting the Red-Green Alliance, this legislation deploys new tools to fight back against the Marxist and Islamist advance that has devastated Europe and has now arrived on our doorstep, especially in my home state of Texas,” Roy continued. 

Under the proposal, non-citizens affiliated with socialist parties, communist parties, the Chinese Communist Party, or organizations deemed to promote Islamic fundamentalism could be denied entry or deported. The bill would also expand grounds for denying naturalization and, in some cases, allow denaturalization for individuals found to have concealed ideological affiliations or to be actively advocating for violent anti-democratic movements.

Supporters of the bill argue that the measure is necessary amid rising antisemitic incidents across the United States following Hamas’s Oct. 7, 2023, attack on Israel, amid the ensuing war in Gaza. They point to pro-Hamas rhetoric on some college campuses and among far-left activist circles as evidence that immigration enforcement should include stronger scrutiny of extremist ideological affiliations.

In recent years, conservatives have drawn attention to the massive surge in antisemitic protests on American soil, pointing to an increase of foreign migration as the culprit. In the immediate aftermath of the Oct. 7 slaughters in Israel, protests erupted on US campuses and streets. Many of these demonstrations, many of which devolved into riots, were spearheaded by either foreign nationals or recent migrants from the Middle East or southeast Asia.

US Director of National Intelligence Avril Haines warned in 2024 that “actors tied to Iran’s government” have encouraged and provided financial support to many of these protests.

Critics, however, say Roy’s legislation raises serious constitutional concerns, particularly around First Amendment protections, religious liberty, and due process rights. Civil liberties advocates have warned that broad ideological tests for citizenship or deportation could be vulnerable to court challenges and used too broadly against political dissent.

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Orthodox Jews Harassed in Brooklyn as Antisemitic Hate Crimes Surge in New York City Under Mamdani

New York City Mayor Zohran Mamdani delivers a speech during his inauguration ceremony in New York City, US, Jan. 1, 2026. Photo: REUTERS/Kylie Cooper

Multiple videos which emerged this week captured in vivid detail the surge of antisemitic hate crimes that have proliferated under New York City Mayor Zohran Mamdani’s leadership.

On Monday, Williamsburg News shared a 36-second video depicting two young males riding bicycles on Williamsburg Street & Lee Avenue in Brooklyn. The first swerves his bike in front of an elderly Jewish man, leading the victim to turn and address his assailant. Then the second perpetrator comes from behind on his bike and knocks off the Jewish man’s black hat.

Officers from the New York City Police Department (NYPD)’s 90th precinct responded to the assault and opened a hate crime investigation.

Also on Monday, the Boro Park Shomrim, a Jewish organization that monitors antisemitism and also serves as a neighborhood watch group, released a 37-second clip of young males driving a white SUV into a crosswalk before stopping to address a Jewish man with payot wearing traditional Hasidic attire. He begins to walk away, provoking a teenager in the back seat to leap out, chase after him, and yell, “Come here! Come here!”

An individual sitting in the front seat’s passenger side applauds the act of intimidation before the young man rushes back into the SUV which speeds away, tires squealing.

While evidence of these antisemitic incidents emerged from security footage, the perpetrators of a separate incident from last week chose to film their harassment targeting a Jewish pizzeria proprietor themselves.

Operatives of the so-called Palestine News Network (PNN) conducted one of their pseudo-interviews of Isaac Garson, owner of Slices Pizza in Hastings-on-Hudson, a community roughly 20 miles north of New York City.

The Anti-Defamation League (ADL) describes the group’s modus operandi of choreographed hostility, explaining that members “have a history of entering neighborhoods with significant Jewish populations, or approaching those attending Jewish or Israel-related events, where they shoot videos that walk the line between ‘interview’ and provocation.”

The 47-second video appears in a vertical format, indicating filming on a phone. In the lower right corner, the video bears a red and white PNN logo intended as a parody of the traditional CNN logo. Garson emerges from the restaurant, gestures his hands, and says, “I’m going to be calm. I want peace around the world.”

The man filming the encounter then goads, “What about Palestine? Can you say Palestine, specifically?”

The video cuts to footage of a man outside the restaurant who appears to be affiliated with PNN and carries a fractured placard that says, “End US AID to Israel.” However, the word “Israel” was originally at the bottom of the sign but snapped off, requiring the activist to carry along the broken piece to complete his political proclamation.

The next 20 seconds of the video focus on the men harassing a woman wearing a black baseball cap and black sunglasses walking by on the sidewalk. They demand to know “what’s your opinion?” The video cuts off her answer and jumps to them insulting her as “a textbook case of white mediocrity. Mediocre aesthetics, no stances, this is what we call ‘white mediocrity.’ You’re a shining example of mediocrity.”

The woman, taken aback by being insulted by eccentric activists carrying a dilapidated sign on the street, says, “Oh. Well, that’s also your opinion.”

The conclusion of the video returns to Garson, who asks the men: “What happened to Israel in 1948?”

The cameraman then yells, “Oh, it came out! It came out!”

Garson asks, “What happened?”

The cameraman then chants proudly, “The Nakba! The Nakba!”

The Arabic term “Nakba” translates as “catastrophe,” and anti-Zionists regularly deploy it to signify the founding of the modern State of Israel. In 2023, Palestinian Authority President Mahmoud Abbas issued a decree defining the “Nakba” as “the crime against humanity committed against the Palestinian people in 1948.”

Garson then asks in the video: “How many people were killed on Oct. 7?” referring to the Palestinian terrorist group’s 2023 invasion of and massacre across southern Israel.

The cameraman shoots back, “We support Oct. 7!”

Beginning to walk back into his restaurant, Garson says, “OK, great, you support a murder.”

Hastings-on-Hudson Mayor Tom Drake released a statement on Wednesday condemning PNN’s harassment.

“I am sorry that this type of conduct has reached our amazing and tolerant village,” Drake said. “Today, the strength exhibited by our friend and business owner, who I have been in communication with, makes me proud to be your mayor and do everything to support our businesses and residents, even when faced with such a gross display of hate.”

Drake added, “As a community, we cannot let stickers placed on signs or other forms of hate become normal. While they may seem small in some cases, they are intended to cause fear and intimidation. These actions have targeted a specific population of our village, and I urge all Hastings residents to join me in condemning such actions of hate and come together and support one another.”

The ADL names the leaders of PNN as Ramsey Aburdene and David Wolf, explaining they chose to found the group following the Oct. 7, 2023, terrorist attacks in southern Israel. Aburdene says that he has urged people for years to “stop condemning Hamas.”

Wolf is Jewish and described by the ADL as “an extreme anti-Zionist” who “had his Star of David tattooed over with a Palestinian flag.”

PNN has amassed more than 100,000 followers on the X social media platform and has seen its videos shared by prominent anti-Zionist influencers such as British rapper Lowkey and “anti-imperialist journalist” Benjamin Rubenstein.

The incidents come amid continued criticism and scrutiny over the Mamdani administration’s approach to countering antisemitism.

Earlier this month, NYPD Commissioner Jessica Tisch revealed that “confirmed hate crimes increased nearly 12 percent this quarter citywide. We continue to see that the vast majority of our hate crimes are antisemitic in nature.”

Tisch added that “in fact, in the first quarter of 2026, more than half of all confirmed hate crimes, or 55 percent, were antisemitic, despite Jews only making up approximately 10 percent of the population of New York City.”

Mamdani assumed office on Jan. 1.

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‘Another Holocaust’: Netanyahu Tells Bereaved Families on Memorial Day of Iran Plot to Destroy Israel

Israeli Prime Minister Benjamin Netanyahu attends the opening event for the Memorial Day at the Yad LaBanim House in Jerusalem, April 20, 2026. Photo: Marc Israel Sellem/Pool via REUTERS

Israeli Prime Minister Benjamin Netanyahu invoked the Holocaust during a Memorial Day ceremony in Jerusalem on Tuesday, saying joint US-Israeli strikes on Iran had prevented the regime from carrying out its genocidal vision. 

“The Ayatollah regime in Iran planned another Holocaust. It plotted to destroy us with nuclear bombs and thousands of ballistic missiles,” he said at the state ceremony for fallen soldiers at Mount Herzl military cemetery. “Had we not acted against the existential threat, had we not acted with determination and daring, the names of the death sites Natanz, Fordow, Isfahan might have joined the names of the death camps of the Holocaust: Auschwitz, Majdanek, Treblinka.”

“But that did not happen because together with our great friend, the United States, we crushed the Iranian regime’s machinery of destruction in time,” he said. “We removed an immediate existential threat.”

Netanyahu ended by saluting wounded soldiers and bereaved families. “May the memory of the fallen of Israel’s wars be blessed and kept in our hearts forever,” he said.

Israeli Prime Minister Benjamin Netanyahu wearing the Tefillin of IDF Golani Brigade Fighter First Sgt. Sean Carmeli, who fell in the 2014 war with Gaza. Photo: Ma’ayan Toaf (GPO)

The national Memorial Day, known as Yom Hazikaron, came as Iran poured cold water on the notion of extending the ceasefire, saying it would not send officials to Islamabad to continue negotiations with the US.  

Meanwhile, a second ceasefire brokered by US President Donald Trump with Iran’s Lebanese proxy Hezbollah was also poised to be tested, as rocket sirens sounded toward evening in northern Israeli communities near the border with Lebanon.

At a separate Memorial Day ceremony for fallen Mossad personnel, intelligence agency chief David Barnea disclosed that one of the service’s operatives was killed during the war with Iran.

The officer, whose identity remains under gag order, had served in the agency for more than three decades, Barnea said, adding that he was “filled with pride” by his actions.

“There is no other day during the year that is as difficult for us, for me, as Memorial Day for Israel’s fallen,” Barnea said, tracing a line from the defenders of the pre-state Jewish community to the soldiers fighting since Hamas’s Oct. 7, 2023, attack on Israel. He said the obligation to defend the country had passed from generation to generation, with each cohort choosing to shoulder it anew.

Other commemorations took place outside the state ceremonies. On Memorial Day eve, OneFamily, a nonprofit that supports victims of terrorism and bereaved families, held a gathering centered on personal testimony.

The evening was led by two bereaved mothers, Liat Smadja and Laly Derai, whose sons were killed in the same explosion in Gaza in June 2024.

Smadja, who serves in the reserves as a casualty notifier, described the cruel inversion of learning that the task she performs for other families had come to her own door.

“I have the job of knocking on doors and delivering the worst possible news, one that changes a family’s life forever,” she said. “And then the message came for me as well.”

In Israel, “the knock on the door” has become a traumatic shorthand for one of the most feared moments in public life, the arrival of military representatives to tell a family that a loved one has been killed.

Derai said the families had forged a bond that cut across their different backgrounds.

“We come from different worlds and different backgrounds. Since [their death], we are one family, connected by something deep and unbreakable.”

Two days earlier, Derai had attended a weekend for bereaved families organized by OneFamily, spending the run-up to Memorial Day among others carrying the same loss.

Yigal Tamam, whose son Adir and daughter-in-law Shiraz were murdered on their way to the Nova music festival during the Oct. 7 attack, was also there.

As rocket fire erupted early in the morning that day, the couple pulled over and ran into a roadside bomb shelter, where they were killed by Hamas terrorists who threw grenades inside. The two were survived by their young daughters. 

“I’m breathing but I’m not alive,” Tamam said over the weekend.

He said he breaks down when he thinks about his grandchildren, Goshen, 10, and Gili, 8, growing up without their parents.

OneFamily founder Chantal Belzberg is set to receive the Israel Prize for lifetime achievement, a rare national award granted by the state for outstanding contributions to Israeli society, presented on Independence Day, which follows Memorial Day.

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