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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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‘Scarier Than the Holocaust’: Survivor of Nazi Camps, Oct. 7 Dies at 92
Daniel Louz speaks at Auschwitz-Birkenau as part of the annual March of the Living, May 2024. Photo: Screenshot
Less than two weeks after lighting a Holocaust Remembrance Day torch and saying the Oct. 7, 2023, attack on Israel was scarier than the Nazis’ genocide of European Jews, Daniel Louz, who escaped Nazi persecution as a child and survived the Hamas massacre at Kibbutz Be’eri eight decades later, has died at 92.
The nonagenarian lit a torch at the Israeli Holocaust Remembrance Day ceremony at Kibbutz Yad Mordechai, where the annual Holocaust and Heroism Memorial Rally has been held for decades. In an interview with the Yedioth Ahronoth newspaper before the ceremony, he spoke prophetically – and with humor – about his declining health.
“You see me happy and smiling in the photo, but my health is really not good,” he said. “Soon I will have to return my soul to the Creator, but I make an effort for the camera.”
Born in France, Louz was a child when Nazi Germany invaded in 1940. He and his family were held in three concentration camps in France, separated for years between different camps, with his mother and sister in one place and his father in another. The family survived, but most of his relatives, including 10 aunts and uncles and two cousins, did not.
Two years ago, on Holocaust Remembrance Day, Louz visited Auschwitz-Birkenau with the annual March of the Living, where he also took part in a torch-lighting ceremony.
Louz immigrated to Israel in 1949. He first lived on Kibbutz Nirim in the Negev and later made his home at Kibbutz Be’eri.
“I began to breathe again,” Louz said of the move to Israel.
Louz described the events of Oct. 7, 2023, in Be’eri, one of the communities hit hardest during the Hamas-led attack. On Oct. 6, like many Be’eri residents, Louz marked the kibbutz’s anniversary. The next morning, Hamas terrorists stormed the community. Of the kibbutz’s roughly 1,200 residents, 101 were murdered and 30 were kidnapped. Hundreds of homes were destroyed and more than two years later, most of the community is still living elsewhere.
Louz was inside his home as the attack unfolded.
“We were already hostages in our own home, when Hamas terrorists entered the kibbutz,” he said.
“It was a deathly fear. It was even scarier than I remember as a child during that war,” he added.
Louz said he had not recovered from the trauma of the attack and expressed his hope for an end to war, adding that while he no longer believed he would live to see peace himself, he hoped his grandchildren would.
At Birkenau, Louz tied the memory of the Holocaust directly to the massacre in southern Israel.
“We, the survivors of the Holocaust, who established a home and a state – that constitute our great victory over the Nazis and antisemitism – light this torch in memory of those who perished in the Holocaust, and in memory of those murdered on Oct. 7,” he said, his voice shaking.
Approximately 2,500 Holocaust survivors were in areas directly affected by Oct 7, according to Israel’s Ministry of Welfare and Social Affairs. Roughly 2,000 of these survivors were forced to evacuate their homes from the Gaza envelope and northern Israel due to the subsequent war.
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An Indiana town had no Jewish cemetery. When its mayor died, it built one
When Marcus Levy died in Aurora, Indiana, in September 1871, the city gathered.
Levy was 63 years old, a native of Prague, and the mayor of Aurora. After the upheavals of 1848, he left Europe and arrived in New York a stranger and without means before making his way west. He came to Aurora around 1855 and, over the years, served as city treasurer, county treasurer, school trustee, and then mayor at the time of his death.
He was unmarried and died a poor man after a failed business investment. At his funeral, one fraternal resolution noted the “entire absence of any one related to him by blood.” But he did not die unknown. He had, as The Israelite newspaper of Cincinnati put it, gained the respect of those around him through “his integrity, his talents, and his goodness of heart, both in his private and public life.”
His funeral was held in the Methodist Episcopal Church, the largest building in town. Rabbi Goldammer of Cincinnati had traveled roughly 40 miles to Aurora to officiate. When Levy’s death was announced, one local report noted, “the grief of his friends and the public at large was no less poignant.”
Aurora marked the death formally. The town council recorded its “unfeigned sorrow,” described Levy as “a competent, faithful, and honest public official,” ordered Council Hall draped in mourning for 30 days, and directed city officers to attend the funeral as a group.
At 1 p.m., according to an account of the day, the services began. The church was filled to capacity, and probably more than half of those who came could not get in. One account estimated the attendance at more than 4,000 people.
Then the procession formed.
A German band led. The Aurora lodge of Masons followed in full regalia. Then came the Odd Fellows lodges, also in regalia. Another band. The hearse. Ladies and gentlemen “of the Jewish faith” in carriages. Citizens on foot.
The procession moved under direction through the city to River View Cemetery. One account said it extended nearly three miles. Another called it the largest funeral procession Aurora had ever seen.
At the graveside, rites were performed. The Masons and Odd Fellows conducted their fraternal ceremonies. Afterward, Rabbi Goldammer read the Jewish funeral service.
‘The wind is favorable’
The burial itself had nearly taken place elsewhere.
Because Aurora’s Jewish population numbered just four families, local Jews had first agreed to send Levy’s remains to Cincinnati, where there was an established Jewish cemetery.
But Aurora resisted that plan. According to one report, the “impressive desire of the community” was to keep within the city “as a dear memory” the remains of the man they had respected for so many years. Another account stated Levy’s friends in the city, “irrespective of religious belief,” insisted that he should be buried where he had spent so much of his life.
And so he was.
Levy was interred in River View Cemetery, and Rabbi Goldammer consecrated the ground. Yet the work did not end with the funeral. Rabbi Isaac M. Wise later explained that the Jews of Aurora and neighboring Lawrenceburgh, “few in numbers,” attempted to purchase three adjoining lots so that Levy’s grave might become part of a Jewish burial ground.
A second effort followed: to place “an appropriate monument” above Levy’s grave.
To raise the money, local Jews turned outward. Wise wrote that Abram Epstein and Joseph Meyer of Aurora took the matter in hand and invited him to lecture in the city for the benefit of the monument fund. Wise had refused other outside engagements that winter, but he went to Aurora on Jan. 20, 1873.
The lecture was held in the Presbyterian church. Its pastor, the Rev. A.W. Freeman, with the unanimous consent of his congregation, offered the building for the occasion. Wise described it as “a very pleasant and spacious building.” Before the lecture, Freeman’s daughter played the organ, and four local vocalists, including “one of the most respected bankers of the place and his lady,” sang a quartet.
Though revival meetings were underway in two other churches that same evening, Wise said the church was well filled with “a highly intelligent class of people,” who listened patiently for an hour and a quarter as he lectured on episodes from Jewish history and the world’s progress since then.
Afterward, Freeman, who had introduced Wise, rose and proposed a vote of thanks, which was unanimously approved.
Wise did not know how much money had been raised. He hoped only that the work would continue until the fund was sufficient to erect “a respectable monument” to Levy. He added that he would willingly serve again for that purpose.
A local writer had remarked that the event would be a curious spectacle, a Jewish rabbi speaking in a Christian church before a Christian audience. Wise rejected the novelty. There was nothing peculiar in it, he wrote, for one “to whom all men are equals whatever their creeds, languages, or places of nativity may be.” He added, “We worship one God and love one human family,” and told readers afterward, “We are steering in that direction, and the wind is favorable.”
In Aurora, a Jewish mayor died, and the town did not send him away.
They buried him and then worked to mark the ground.
The post An Indiana town had no Jewish cemetery. When its mayor died, it built one appeared first on The Forward.
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Mediators Still Seek to Bridge US, Iran Gaps Despite No Face-to-Face Talks
People walk past a billboard with a graphic design about the Strait of Hormuz on a building, amid a ceasefire between US and Iran, in Tehran, Iran, April 27, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
Work has not halted to bridge gaps between the United States and Iran, sources from mediator Pakistan said, despite the absence of face-to-face diplomacy after President Donald Trump called off a trip by his envoys over the weekend.
Iranian sources disclosed Tehran’s latest proposal on Monday, which would set aside discussion of Iran‘s nuclear program until the war is ended and disputes over shipping from the Gulf are resolved. That is unlikely to satisfy Washington, which says nuclear issues must be dealt with from the outset.
Hopes of reviving peace efforts have receded since the US president scrapped a visit on Saturday by his envoy Steve Witkoff and son-in-law Jared Kushner to Islamabad, the Pakistani capital, where Iranian Foreign Minister Abbas Araqchi shuttled in and out twice over the weekend.
Araqchi also visited Oman over the weekend and went to Russia on Monday, where he met President Vladimir Putin and received words of support from a longstanding ally.
OIL PRICES RISE AGAIN
With the warring sides still seemingly far apart on issues including Iran‘s nuclear ambitions and access through the crucial Strait of Hormuz, oil prices resumed their upward march when trade reopened on Monday. Brent crude was up around 3.5% at around $108.8 a barrel by 1500 GMT.
“If they want to talk, they can come to us, or they can call us. You know, there is a telephone. We have nice, secure lines,” Trump told “The Sunday Briefing” on Fox News.
“They know what has to be in the agreement. It’s very simple: They cannot have a nuclear weapon; otherwise, there’s no reason to meet,” Trump said.
Araqchi expressed a different perspective, telling reporters in Russia that Trump requested negotiations because the US has not achieved any of its objectives.
ISLAMABAD REOPENS AFTER LOCKDOWN TO HOST TALKS
Senior Iranian sources, speaking on condition of anonymity, told Reuters the proposal carried by Araqchi to Islamabad over the weekend envisioned talks in stages, with the nuclear issue to be set aside at the start.
A first step would require ending the US-Israeli war on Iran and providing guarantees that Washington cannot start it up again. Then negotiators would resolve the US blockade and the fate of the Strait of Hormuz, which Iran aims to reopen under its control.
Only then would talks look at other issues, including the longstanding dispute over Iran‘s nuclear program, with Iran still seeking some kind of US acknowledgment of its right to enrich uranium for what it says are peaceful purposes.
In a sign that no face-to-face meetings are planned any time soon, streets reopened in Pakistan’s capital Islamabad, which had been locked down for a week in anticipation of talks that never took place. The luxury hotel that had been cleared out to serve as a venue was again taking reservations from the public.
Pakistani officials said negotiations were still taking place remotely, but there were no plans to convene a meeting in person until the sides were close enough to sign a memorandum.
SHIPPING SNARLED BY BOTH SIDES
Although a ceasefire has paused the US-Israeli strikes on Iran that began on Feb. 28, no agreement has been reached on terms to end a war that has killed thousands and driven up oil prices. Both sides could be settling in for a test of wills.
Iran has largely blocked all shipping apart from its own from the Gulf through the Strait of Hormuz since the war began. This month, the United States began blockading Iranian ships.
Six tankers loaded with Iranian oil have been forced back to Iran by the US blockade in recent days, ship-tracking data shows, underscoring the impact the war is having on traffic.
Between 125 and 140 ships usually crossed in and out of the strait daily before the war, but only seven have done so in the past day, according to Kpler ship-tracking data and satellite analysis from SynMax, and none of them were carrying oil bound for the global market.
With his approval ratings falling, Trump faces domestic pressure to end the unpopular war. Iran‘s leaders, though weakened militarily, have found leverage with their ability to stop shipping in the strait, which normally carries a fifth of global oil shipments.
However, experts have warned that the Iranian economy is on the verge of collapse, especially if the US blockade continues to slash Iran’s oil exports.