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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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The Situation at Colleges and K-12 Schools Is as Bad as It Has Ever Been for Jewish Students
Demonstrators march in support of Palestinians, amid a ceasefire between Israel and Hamas, at the University of Washington in Seattle, Washington, US, Feb. 5, 2025. Photo: REUTERS/David Ryder
University administrations continue to grapple with legal challenges to their handling of antisemitic protests. A series of lawsuits filed by the higher education industrial complex seek to reverse all the Trump administration’s initiatives to control costs, limit foreign students with radical pasts, and protect Jewish students.
University presidents are also being pressured to reverse the trend of institutional neutrality and to resume making statements on political issues. The lawsuits and the renaming and hiding of DEI initiatives indicate that universities are simply waiting out the current administration, but the structural changes being forced by economic conditions including Federal funding and broader demographics will be more enduring.
Reports indicate that the Trump administration is reworking its “compact with higher education” to make it acceptable to more universities, but in the meantime, a number of Federal investigations are ongoing. The University of Pennsylvania, however, has balked at a demand for employee records from the Equal Opportunity Employment Commission as part of an investigation into discrimination aimed at Jewish employees.
The US Department of Education has also chosen not to challenge a Federal court ruling that prohibits it from requiring universities to remove all race based curriculum, student aid, and student services or risk losing funding. The move was represented by DEI advocates as a victory and reflects the industry’s efforts to wait out the Trump administration before restoring DEI as its central pillar.
Data from a new Department of Education website has again showed that Qatar is the leading funder of American universities with $6.6 billion in contracts and gifts. Cornell University received $2.3 billion, while $1 billion was given to Carnegie Mellon University, and more that $900 million each to Texas A&M University and Georgetown. Overall 1223 individual transactions involving Qatar are recorded, pointing to that country’s vast influence buying within the higher education industrial complex.
The influence of foreign funding has always been disputed by universities. A new lawsuit, however, alleges that Qatari funding directly shaped Carnegie Mellon’s neglect of antisemitism and discrimination directed at a Jewish faculty member.
In that case, the school was required to consult with the Qatar Foundation International before hiring the assistant vice provost for DEI and Title IX coordinator, while other DEI officials visited Qatar as part of their work. This pattern of support and collusion with Qatar through DEI is likely replicated across a vast scale across the higher education industry.
A new report has again detailed the manner in which the City University of New York systematically purged all Jews from its leadership and dramatically reduced the number of Jewish students. The university’s move appears to be a deliberate, top down marketing strategy focusing on New York’s Muslim community rather than Jews, which privileged partnerships with CAIR and endorsed BDS supporters within the faculty union.
Finally, in a significant move, the United Arab Emirates has banned scholarships for students studying in Britain. The stated rationale was fear of radicalization by the Muslim Brotherhood, which dominates British campuses.
In an interesting rhetorical shift, Harvard president Alan Garber blamed “faculty activism” in the classroom for chilling free speech on campus. He also stated that “there is real movement to restore balance in teaching and to bring back the idea that you really need to be objective in the classroom.”
The incorporation of explicitly anti-Israel terms such as “Israel Occupation Forces,” “Apartheid Wall,” and “Zionist regime” into academic papers has expanded immensely since 2019 and has created a self-reinforcing web of citations that gives the additional appearance of legitimacy to anti-Israel standpoints.
As has long been the case, this new guise conveniently aligns with broader left-wing opposition to the West, capitalism, and whiteness.
Faculty also continue to organize conferences on campus that emphasize anti-Israel activism, often without a guise of scholarship or pedagogy.
In one recent example, a conference at the University of Washington was reported to have promoted pro-Hamas activism and included faculty members and activists who defended Hamas, Iran, and campus property destruction. The university recently lifted suspensions on students who had caused over $1 million in damages to an engineering building during a pro-Hamas takeover.
In another example, Georgetown University’s Center for Contemporary Arab Studies will host a Gaza Lecture Series featuring a number of prominent defenders of Hamas and other terrorist groups, as well as deniers of October 7th sexual violence.
Institutionally, academic associations continue to be besieged by anti-Israel members. In January the executive council of the American Historical Association vetoed a resolution accusing Israel of scholasticide and the silencing of protests regarding “the U.S.-sponsored genocide perpetrated by Israel in Gaza.”
The council stated, “As worded the two resolutions fall outside the scope of the American Historical Association’s chartered mission,” adding that “Approving them on behalf of the entire association would present institutional risk and have long-term implications for the discipline and the organization.” Supporters of the resolution complained the move reflected anti-Palestinian bias. The Modern Language Association also approved a similar resolution.
In the first month of the new semester, job fairs and individual corporations were be targeted by pro-Hamas protestors. In one example, the Stanford Students for Justice in Palestine chapter organized a walkout to demand the university sever ties with Palantir, which it accuses of “enabling genocide” and profiting from “ICE raids, police violence, and mass surveillance at home.”
The Yale University “Endowment Justice Collective” also demanded that the university divest from investments in Palantir and other firms. The university rejected the demands. The University of Alabama SJP chapter made similar divestment demands.
Student sponsored events in support of Hamas and other Palestinian terror organizations also continue to be held. The University of Virginia Law School hosted International Solidarity Movement co-founder Huwaida Arraf for a “conversation” about Gaza. In another, the University of Chicago’s pro-Hamas groups promoted an International Week of Action to secure the release of Ahmad Sa’adat, the imprisoned general secretary of the Popular Front for the Liberation of Palestine.
At the University of Washington, the presence of the Tariq El-Tahrir Student Network, “an international network of Palestinian, Arab, and Internationalist youth, students and organizations,” associated with terrorist organizations including the Popular Front for the Liberation of Palestine, has provided the local pro-Hamas SUPER UW (Students United for Palestinian Equality and Return at University of Washington) group with continuing support. This includes webinar series featuring terror supporters from Samidoun and other groups. SUPER UW remains banned on campus but the Tariq El-Tahrir provides them with an effective alter ego.
Finally, in a move that demonstrated how the Holocaust is being actively divorced from and turned against Jews, the University of California at Irvine student government passed a motion commemorating International Holocaust Remembrance Day but stripped it of all reference to modern antisemitism and Holocaust denial.
The K-12 sector continues to be manipulated by anti-American and pro-Hamas teachers unions and infiltrated by foreign influence operations. Pro-Hamas pedagogy inside and outside the classroom have now become commonplace, often piggybacked on holidays and commemorations.
In one example, pro-Hamas teachers held a NYC Educators For Palestine MLK Day Teach-In. The organizers are among the leaders of the American Federation of Teachers and the United Federation of Teachers. A number of participants are also linked to pro-Hamas welfare organizations such as the Palestinian Children’s Welfare Fund and ANERA. Teach-ins for “Palestine” were also held on Martin Luther King Day for students in Philadelphia and for teachers in Oakland.
Teachers and parents from the Berkeley Families for Collective Liberation were involved in organizing a student walkout at Berkeley High School to participate in a pro-Palestinian teach-out held on International Holocaust Remembrance Day. Organizers claimed the timing was purely coincidental. Speakers also criticized California’s new law addressing antisemitism in public schools.
The complicity of school administrators in permitting and organizing pro-Hamas events inside and outside classrooms is well documented. One recent example is the decision by the Michigan Department of Education to accept teachers’ participation in a professional development seminar about “how to teach about Palestine” organized by the Arab American National Museum, in association with Rethinking Schools, and Visualizing Palestine.
New evidence continues to emerge regarding foreign influence operations, including initiatives by the Qatar Foundation International to insert Arabic language and social justice curriculums into Georgia schools. Both the language and social justice materials are deeply suffused with anti-Israel and antisemitic themes.
British primary and secondary schools provide a roadmap to how teachers and foreign powers reshape curriculum and how demographic change among students have made antisemitism and anti-Israel bias foundational.
British teachers unions are resolutely anti-Israel and have adopted numerous resolutions of condemnation. This has translated into classroom hostility towards Israel, as well as towards Jewish students and teachers, some of whom are told by colleagues that Israel simply does not exist, which is amplified by the growing number of Muslim students.
In one recent case, a school barred a Jewish Member of Parliament from visiting after protests from teachers. The educational oversight authority Ofsted later cleared the school of wrongdoing without speaking to the Member of Parliament. In contrast, reports indicate that Hussein Zomlot, head of the Palestinian Mission to the UK, routinely tours British schools.
The Holocaust has also been co-opted and inverted as an anti-Israel and antisemitic tool. British teachers have begun presenting Israeli actions in Gaza as “genocide” and inverting Holocaust memory into an anti-Jewish concept. Reports also indicate that half of British schools have stopped marking Holocaust Memorial Day for fear of offending Muslim students.
The author is a contributor to SPME, where a different version of this article appeared.
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Israeli-Palestinian restaurant shutters in Berlin, though a TV show will continue its story
(JTA) — An Israeli-Palestinian restaurant in Berlin that became internationally known for its “Make hummus not war” message is closing after 10 years — but a new TV series will extend its story.
Kanaan, a hummus bar run by Oz Ben David, an Israeli, and Jalil Dabit, a Palestinian, has announced it will shutter in March. The partners evolved their restaurant into a platform for promoting peace and dialogue, but in recent years, they fought a string of economic challenges along with local tensions emanating from the Gaza war.
“Running a daily restaurant became too heavy,” they said in a post on Instagram. “The pandemic, the wars and the economic situation, all of those were too much.”
Now, the German production company Traumfabrik Babelsberg says it’s making a new dramedy series based on the Israeli-Palestinian duo. The show called “Breaking the Binary” was announced at a launch party in January, where the creators said they joined Ben David and Dabit over “a shared meal as a symbol of exchange and encounter.”
Ben David and Dabit are contributing to the writing and character development of the series. It will feature Mirna Funk, a German-Jewish author and journalist, as well as Yousef Sweid, a Palestinian citizen of Israel who appeared in the acclaimed Netflix series “Unorthodox” and HBO’s “Game of Thrones.”
The partners briefly closed Kanaan after the Oct. 7 Hamas attack on Israel, battling doubts about the credibility of their anti-war message. Six days later, they reopened with the determination to leverage their restaurant as a symbol of hope.
They organized free educational programs on cooking and prejudice, joining Palestinian refugees from Gaza with members of Berlin’s Israeli community. In November, they published a cookbook titled “Kochen ohne Grenzen,” or “Cooking Without Borders,” compiling their recipes together with those of rabbis, imams and priests in Berlin.
But while these projects won international recognition, Kanaan was battered by economic uncertainty and a fraught political environment. Far-left and far-right activists protested the “normalization” of an Israeli and a Palestinian working together. Meanwhile, many customers surveyed by the restaurant said they were fatigued by conversations about the Israeli-Palestinian conflict, and they preferred to unwind with a night of sushi or Italian food.
“‘We don’t understand if you are pro-Israel or pro-Palestine.’ That’s something that we heard a lot,” Ben David said last year.
In 2024, Kanaan was ransacked after hosting a Jewish-Muslim brunch. Months later, an Israeli woman was assaulted by four people while wearing Kanaan’s signature pin, which depicts a heart divided between the Israeli and Palestinian flags.
Ben David and Dabit said they will continue to share their food through other formats, including pop-ups, catering, educational projects and collaborations.
“This chapter is coming to an end — but Kanaan is not,” they said.
The post Israeli-Palestinian restaurant shutters in Berlin, though a TV show will continue its story appeared first on The Forward.
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‘Blue Wave’: Israel Expands Diplomatic, Security Ties Across Latin America Amid Shifting Regional Politics
Argentine President Javier Milei speaks during a Plenum session of the Knesset, Israel’s Parliament, in Jerusalem, June 11, 2025. Photo: REUTERS/Ronen Zvulun
A new wave of diplomacy in Latin America has seen several governments adopt a friendlier, more supportive stance toward Israel, deepening bilateral ties that Jerusalem is now leveraging on the global stage while signaling a potential shift in regional political alignments.
In a new interview with Israel’s Channel 12, Amir Ofek, deputy director for Latin America at Israel’s Ministry of Foreign Affairs, explained that the country is undergoing a major shift in its diplomatic engagement across the region, marked by a series of significant developments.
“There have been shifts in countries that were once our allies, and we have faced periods under very critical and challenging governments,” Ofek said. “We respond quickly to these changes, stay in close contact, and we are now beginning to make real progress.”
In a significant regional breakthrough, Israel and Bolivia formally restored diplomatic relations late last year, ending a two-year rupture sparked by the war in Gaza and reopening channels of official dialogue between the two countries.
In December, Bolivian Foreign Minister Fernando Armayo also announced that the country will lift visa requirements for Israeli travelers, a move that Israeli Foreign Minister Gideon Saar praised as helping to “strengthen the human bridge between our peoples.”
Chile and Honduras are also leading the way among other Latin American nations making a striking turn toward Israel
Last year, Chile elected far-right President José Antonio Kast, who promised to reshape the country’s foreign policy toward the Jewish state, overturning the stance of a previously hostile administration.
This year, Honduras also chose a far-right candidate, President Nasry Asfura, who expressed hopes for a “new era” in bilateral relations and stronger ties with Jerusalem.
“The shift in Honduras is part of a broader regional trend: a ‘blue wave’ across Latin American countries that embrace freedom and democracy and align closely with US policy in the region,” Nadav Goren, Israel’s ambassador to Honduras, told Channel 12. “We are in a very optimistic period for Latin America.”
With the official launch of the Isaac Accords by Argentina’s President Javier Milei last year, Israel has been working to expand its diplomatic and security ties across the region, in an effort designed to promote government cooperation and fight antisemitism and terrorism.
Modeled after the Abraham Accords, a series of historic US-brokered normalization agreements between Israel and several Arab countries, this new initiative aims to strengthen political, economic, and cultural cooperation between the Jewish state and Latin American governments.
“Israel offers globally recognized expertise that meets the needs of many countries, covering areas such as agricultural technology, water management, food security, cybersecurity, and innovation. Partners understand that Israel can help propel them forward, even in the context of internal security,” Ofek said.
The first phase of the Isaac Accords will focus on Uruguay, Panama, and Costa Rica, where potential projects in technology, security, and economic development are already taking shape as this framework seeks to deepen cooperation in innovation, commerce, and cultural exchange.
The Isaac Accords will also aim to encourage partner countries to move their embassies to Jerusalem, formally recognize Hamas and Hezbollah as terrorist organizations, and shift longstanding anti-Israel voting patterns at the United Nations.
Less than a year after the Hamas-led invasion of and massacre across southern Israel on Oct. 7, 2023, Argentina became the first Latin American country to designate the Palestinian Islamist group as a terrorist organization, with Paraguay following suit last year.
Building on a deepening partnership, Saar and Paraguay’s President Santiago Peña also signed a landmark security cooperation memorandum, as the two countries continue to expand their relationship following Paraguay’s move to relocate its embassy to Israel’s capital of Jerusalem in 2024.
“Over the past two very difficult years, our friendship has shown its strength through international forums, mutual cooperation, official visits, and measures against Iran. We have expressed our friendship in meaningful, if sometimes implicit, ways,” Ofek told Channel 12, referring to the country’s growing ties with Paraguay.
In recent years, Latin America has gained strategic importance for Israel as a frontline in countering Iran and its Lebanese proxy Hezbollah, whose growing influence and criminal networks in the region — especially in Venezuela and Cuba — have prompted Jerusalem to expand its diplomatic, security, and intelligence presence.
“For us, this is a circle of allies that recognizes the same threat we face from Iran’s growing influence in the region, and it is only natural to cooperate to halt its expansion,” Ofek said. “We have seen firsthand how damaging this is, particularly in the context of attacks on Israeli and Jewish targets.”