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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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‘Mensch of Manhattan’ Lasher wins over Bores in fight for Nadler’s seat, media projects
(New York Jewish Week) — Micah Lasher has defeated Alex Bores in the battle for retiring Rep. Jerry Nadler’s Manhattan congressional seat, according to media projections Tuesday night.
In the race for the 12th Congressional District, the most Jewish in the country, Lasher had 40,106 votes, or 39.1 percent, and Bores collected 35,822 votes, or 35 percent, with 87 percent of the ballots counted.
The crowded field in the Democratic primary also included John F. Kennedy grandson Jack Kennedy Shlossberg, public health expert Nina Schwalbe, and George Conway, a Republican-turned-Democrat and Trump antagonist. All three were trailing well behind Lasher.
During his victory speech, Lasher pointed to both his and the district’s Jewish identity.
“It is an enormous point of pride that I will be representing the most Jewish congressional district in the country,” Lasher said. “I will always stand up for our community with pride.”
He also received a loud ovation after he thanked “the rabbis and Jewish community leaders” who helped the campaign.
A number of Lasher’s political allies and former bosses spoke, including Nadler, who’s represented the upper West Side since 1992, Gov. Kathy Hochul, Comptroller Mark Levine, and Manhattan Borough President Brad Hoylman-Sigal, who told the JTA that Lasher would be a bridge between Mayor Zohran Mamdani and the Jewish community.
Holyman-Sigal called Lasher the “mensch of Manhattan.”
Lasher thanked Nadler for his decades of service and mentorship, saying he taught Lasher things like “vision, compassion, and how to canvass voters outside Zabar’s.”
Nadler is “as much an institution in Manhattan as Central Park and pastrami on rye,” Lasher said.
The House seat — which covers the Upper West and Upper East sides and midtown Manhattan, and is seen as a crown jewel in New York politics — opened up after Nadler announced last fall that he would retire at the end of this term.
Nadler’s preferred heir was Lasher, a Jewish State Assembly member who has worked for the progressive stalwart and other prominent politicians such as Gov. Kathy Hochul and former Mayor Mike Bloomberg. Lasher has the support of those former bosses, plus much of the West Side political establishment.
Fellow Assembly member Bores, meanwhile, has built a coalition that includes both pro-Israel moderates and progressive groups critical of the Jewish state by emphasizing that he will be tough on artificial intelligence companies. Former congresswoman Carolyn Maloney, who represented much of Manhattan’s East Side from 1993 until 2023, is among Bores’ supporters.
On the subject of Israel, the makeup of the NY-12 race has been unlike other contested New York City races: Elsewhere, at least one of the two leading candidates has accmused Israel of committing a genocide in Gaza and supports placing conditions on U.S. military aid to Israel.
But Lasher and Bores both describe themselves as pro-Israel and anti-Prime Minister Benjamin Netanyahu of Israel, and neither one supports blocking weapons sales to the Jewish state.
Mamdani is himself a voter in the district as a resident of Gracie Mansion and who cast his ballot a few days ago, during the early voting period, at the Metropolitan Museum of Art. He has declined to weigh in publicly on the race. The mayor endorsed two democratic socialist candidates and Brad Lander — his Jewish ally who accuses Israel of genocide, and has positioned himself against both offensive and defensive military aid to Israel — in other races.
Lasher and Bores have both consistently advocated for universally applying the existing Leahy Law, which bars the U.S. from providing military assistance to foreign military units that violate human rights with impunity.
Schlossberg has criticized Lasher and Bores for their stance, calling it an “insufficient answer,” and advocates for blocking offensive weapons sales to Israel while still funding the Iron Dome defensive missile system. He is the only of the top-four candidates to call for conditions on aid to Israel and halting any weapons sales. After initially leading in early polls, Schlossberg’s support appears to have fallen amid questions over his lack of experience.
Conway, an anti-Trumper and longtime attorney who was married to former Donald Trump staffer Kellyanne Conway, rounds out the top four in the polling.
Throughout the election, candidates convened for forums at numerous synagogues in the heavily Jewish district — 23.3% of constituents are Jewish, according to a 2024 study — and answered questions related to antisemitism, Israel and other Jewish-related issues.
Lasher has said at multiple forums that he doesn’t see anti-Zionism as being precisely the same thing as antisemitism, but that “often when you see one you see the other.”
He and Bores have both touted their support for a statewide “buffer zone” bill — which Lasher introduced in response to pro-Palestinian demonstrations outside synagogues — that would curb protests outside houses of worship. Meanwhile, Schlossberg has pointed out at Jewish forums that the first policy his campaign released was “Jack’s Fast-Track Plan,” which would fast-track a doubling of funds for the Nonprofit Security Grant Program that funds security at houses of worship and community centers.
During a June forum at Upper West Side synagogue B’nai Jeshurun, Lasher said he felt “exhausted” by how much the political dialogue — both in the NY-12 race and more broadly — is “obsessed” with Israel.
Lasher is sure to win in November’s general election in the heavily Democratic district where he will face only token Republican opposition.
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I helped sell Obama’s Iran deal. Its critics owe us all an explanation.
(JTA) — Neoconservatives have some ‘splainin’ to do, as Lucy’s television husband, Ricky Ricardo used to say.
The war on Iran has turned out to be a debacle of historic proportions.
After months of military escalation, tens of billions of dollars expended, critical weapons stockpiles depleted, and a region once again thrown into crisis, the United States now finds itself humiliated. The memorandum of understanding reportedly concluded last week does not represent the culmination of victory. It represents the codification of failure.
Many understood that nuclear disarmament and regime change in Iran could not be achieved through force. As I wrote in these pages a few months ago, more than a decade ago, we reached a solution designed to avert precisely the calamity that has unfolded. It was the Joint Comprehensive Plan of Action, or, in layman’s parlance, the Iran nuclear deal.
As a certified denizen of the Swamp — I served in the Clinton White House’s communications shop and later founded a Washington, DC strategic communications firm — I was at the forefront of selling the Obama administration’s agreement to the American public.
I remember those days well — and I do not miss them.
JCPOA defenders, particularly those of us in the Jewish community, were attacked in the ugliest terms imaginable. We were called appeasers, sellouts, self-hating Jews and worse. Prime Minister Benjamin Netanyahu traveled to Washington and outrageously warned Congress that the deal might pave the way to a second Holocaust.
JCPOA advocates never argued that the agreement signed in Vienna was perfect.
Its critics pointed to the sunset provisions. They objected that the deal did not address every malign activity undertaken by the Islamic Republic throughout the Middle East. These were legitimate concerns. Politics, however, is the art of the possible; geopolitics doubly so.
That agreement nevertheless achieved something extraordinary. Iran shipped out the overwhelming majority of its enriched uranium. International inspectors gained unprecedented access. A mechanism existed to monitor and constrain Tehran’s nuclear ambitions. The prospect of military confrontation receded.
The regime’s hardliners hated the agreement. The Revolutionary Guard fought it tooth and nail. Integration into the global economy threatened entrenched interests within the Islamic Republic. A growing middle class and increasing international engagement carried risks for those whose power depended on its isolation and perpetual confrontation.
Unfortunately, hardliners were not confined to Tehran.
The maximal-pressure advocates in Washington ultimately prevailed. During the first Trump administration, the United States withdrew from the agreement. Tore it up, as the president bragged. Despite the best efforts of our European partners, who had also signed the accord, the framework collapsed beneath the weight of renewed sanctions and diplomatic abandonment.
What followed, we were promised, was supposed to vindicate the critics.
Instead, it vindicated the critics’ critics.
The maximal-pressure advocates have spent years moving the goalposts. First, we were told, sanctions would bring the regime to its knees. They did not. Then economic isolation would force Tehran to abandon its nuclear ambitions. It did not. Then military pressure would succeed where sanctions had failed. It did not. Then leadership decapitation, covert action, and military escalation would produce regime change. They did not.
Each promised but failed breakthrough gave way to another promised breakthrough.
And now comes the final indignity: the so-called memorandum of understanding.
After years of threats, sanctions, covert action, military escalation and open warfare, the United States has agreed to resume negotiations with the very regime it set out to break. The Islamic Republic remains in power. Its leadership and political system remain intact.
Nor is that all.
The agreement reportedly provides waivers for Iranian oil exports and opens the door to sanctions relief and renewed access to many billions in frozen assets. It establishes yet another negotiating process on the nuclear question rather than resolving it. It leaves unresolved many of the issues that maximal-pressure advocates once described as non-negotiable, including Iran’s missile capabilities, its regional proxy network, or the many canisters of near-bomb-grade enriched uranium — what the president calls nuclear dust.
Even the future status of the Strait of Hormuz, the critical passage for oil open before the war, and now established as a lever for Iran to exert pressure, appears destined for further negotiation rather than decisive resolution.
The advocates of maximal pressure promised a better deal than the JCPOA. They promised that Iran would be forced to make concessions unavailable through diplomacy.
Instead, after years of confrontation, Washington finds itself lifting pressure, restoring economic benefits, negotiating with a surviving regime and postponing the most difficult questions to future talks.
Hell, in Paris last week, Trump actually made the case for Iran to retain, build or buy missiles and maintain at least some nuclear power.
So, what, precisely, was achieved?
The tragedy is not merely that the war failed to accomplish its objectives. It is that we already possessed a framework that constrained Iran’s nuclear program without requiring military confrontation. The Joint Comprehensive Plan of Action was imperfect, to be sure. Its supporters never claimed otherwise. But it reduced risk, established verification mechanisms and avoided precisely the cycle of escalation that has consumed the past decade.
Its opponents insisted there was a better way.
History has now rendered its verdict.
The United States ultimately abandoned a functioning diplomatic framework in pursuit of fantasies that proved unattainable. Having exhausted sanctions, threats and military force, it has arrived back at the negotiating table poorer, weaker and in possession of less leverage than before.
I’m afraid I told you so.
The defenders of the JCPOA were mocked as appeasers. Yet the memorandum of understanding now before us amounts to an admission of the very proposition we advanced all along: However distasteful it may be, the Islamic Republic is not a problem that can be bombed or sanctioned out of existence.
Diplomacy could have spared us the war.
This article originally appeared on JTA.org.
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Lander unseats Goldman on winning congressional election night for Mamdani
Former City Comptroller Brad Lander handily defeated incumbent Rep. Dan Goldman in the New York Democratic primary Tuesday night, while lesser-known Assemblymember Claire Valdez secured the nomination for another House seat — both after campaigning as sharp critics of Israel and with the endorsement of Mayor Zohran Mamdani.
Preliminary results showed Lander with about 66% of the vote to Goldman’s 34%. Valdez won with 56% of the vote for the open seat being vacated by Rep. Nydia Velazquez. Both are virtually assured of winning the general election in November in their heavily Democratic districts.
A third candidate whom Mamdani had endorsed, former Columbia Gaza war encampment organizer Darializa Avila Chevalier, held a slight lead over Rep. Adriano Espaillat on Tuesday night.
Representing a spectrum ranging from liberal Zionist critic (Lander) to longtime activist for the Palestinian cause (Avila Chevalier), the strong results for Mamdani’s chosen candidates is being closely watched nationally in a Democratic Party where many voters say they want the U.S. to distance itself from Israel. All three candidates say they will support cutting off U.S. military aid to Israel, including for the Iron Dome defense system.
At a campaign rally last week, Mamdani compared the American Israel Public Affairs Committee to “monsters” who “move millions in dark money to accomplish a single goal — to preserve their power, so that they can turn us against one another.” The remarks drew widespread condemnation from Jewish leaders, including some Mamdani supporters.
Lander is a high-profile Jewish politician allied with Mamdani, who this election cycle threw his weight behind a slate of progressive candidates who have critiqued hardline pro-Israel money and use the terms “genocide” and “apartheid” to describe Israel’s actions in Gaza and the West Bank.
Setting out to challenge the incumbent, Lander zeroed in on Goldman’s support for U.S. military aid to Israel and his past ties to the campaign fundraising group AIPAC during the campaign.
Lander told the New York Times that criticizing AIPAC makes him “queasy” given “the antisemitic tropes at play,” but that he feels an obligation to call out its funding nonetheless as he promises to curtail U.S. military aid to Israel.
In NY-7, another candidate backed by Mamdani defeated the incumbent’s handpicked successor. democratic socialist Valdez won against Brooklyn Borough President Antonio Reynoso, who had the endorsement of outgoing Rep. Velázquez.
But Mamdani’s brand of Israel politics didn’t succeed everywhere: In the Bronx, Rep. Ritchie Torres — one of the Democratic party’s most staunch supporters of Israel — handily defeated Michael Blake, a former state assemblyman who allied with Mamdani during the mayoral primary last year.
For state comptroller, incumbent Thomas DiNapoli — who made additional purchases of Israel bonds in the aftermath of Oct. 7 — won over Jewish challenger Drew Warshaw, who argued that the state should divest from Israel bonds because they help “finance Israeli Prime Minister Benjamin Netanyahu’s wars.”
State Assemblymember Micah Lasher won the race to succeed Rep. Jerry Nadler, who retired after 33 years in the House and served as one of Congress’ leading voices for liberal Jews. In that race, the leading candidates Lasher and Alex Bores had broad agreement in their support of Israel.
The other candidate in the race, Kennedy political scion Jack Schlossberg, had called for conditioning aid to Israel and attempted to draw contrast with Bores and Lasher on the issue. But Schlossberg’s campaign struggled to gain traction amid questions about his lack of political experience.
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