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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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A border official mocked an attorney for observing Shabbat. Orthodox lawyers say the issue is not new.
Gregory Bovino, the Border Patrol official who led immigration raids in Minneapolis, reportedly mocked the Jewish faith of Minnesota’s U.S. attorney during a phone call with other prosecutors in mid-January. According to The New York Times, Bovino complained that Daniel Rosen, an Orthodox Jew, was hard to reach over the weekend because he observes Shabbat and sarcastically pointed out that Orthodox Jewish criminals don’t take the weekends off.
The call took place at a moment of extreme tension in Minneapolis, as federal agents under Bovino’s command carried out an aggressive immigration crackdown that had already turned deadly. It came between the fatal shootings of Renée Good and Alex Pretti, both killed during enforcement operations, and amid fierce backlash from local officials and residents.
Bovino made the remarks in a derisive, mocking tone, the Times reported, casting Shabbat observance as a point of ridicule. Bovino had already drawn national attention for frequently wearing an olive double-breasted greatcoat with World War II-era styling, leading some critics to call him “Gestapo Greg” and accusing him of “Nazi cosplay.” Bovino, who pushed back on those comparisons, has since been reassigned.
Rosen, a Trump nominee, was confirmed as Minnesota’s U.S. attorney in October 2025 after a career in private practice and Jewish communal leadership. He has said that rising antisemitism helped motivate his decision to take the job, and that prosecuting hate crimes would be a priority for his office.
For many Orthodox Jewish lawyers, Bovino’s alleged remarks were not surprising. They echoed a familiar challenge: explaining that Shabbat — a full day offline — is not a lack of commitment, but a religious boundary that cannot be bent without being broken.
In a profession that prizes constant availability, that boundary can carry consequences. Some lawyers say it shows up in subtle ways: raised eyebrows, jokes about being unreachable, skepticism when they ask for time off. Others say it has shaped much bigger decisions, including how visibly Jewish they allow themselves to be at work.
David Schoen, an Orthodox criminal defense attorney who served as lead counsel for President Donald Trump during his second impeachment trial, said he has long been mindful of how religious observance is perceived in the courtroom.
“I have made a conscious decision not to wear my yarmulke in front of a jury,” Schoen said, explaining that jurors often “draw stereotypes from what they see.”
Those concerns were reinforced by experience. Schoen said he has noticed a “definite difference in attitude” from some judges depending on whether he wore a yarmulke. In one case, he recalled, a Jewish judge pulled him aside during a jury trial and told him she thought he had made the right choice — a comment Schoen said he found disappointing.
For Sara Shulevitz, a criminal defense attorney and former prosecutor, the Bovino episode brought back memories from early in her career.
Orthodox and the daughter of a Hasidic rabbi — now married to one — Shulevitz said her unavailability on Jewish holidays was often treated as a professional flaw rather than a religious obligation. “It held me back from getting promotions,” she said.
In court, the scrutiny could be blunt. “I was mocked by a Jewish judge for celebrating ‘antiquated’ Jewish holidays,” she said, recalling requests for continuances for Shemini Atzeret and Simchat Torah. In another case, she said, a judge questioned her request for time off for Shavuot and suggested she had already “taken off for Passover.”
When another judge assumed Passover always began on the same day in April, “I had to explain the Jewish lunar calendar in the middle of court while everyone was laughing,” she said.
Not every encounter, Shulevitz added, was rooted in hostility. Sometimes judges simply didn’t understand Orthodox practice. When she explained she couldn’t appear on a Jewish holiday, judges would suggest she join the hearing by Zoom — forcing her to explain that Orthodox Jews don’t use electrical devices on Shabbat or festivals.
The misunderstanding often slid into a familiar assumption. “They think you’re lazy,” she said. “It’s not laziness. Any Jewish woman knows how much work goes into preparing for Passover.”
Rabbi Michael Broyde, a law professor at Emory University who studies religious accommodation, said that Bovino’s alleged “derogatory remarks” are “sad and reflects, I worry, the antisemitic times we seem to be living in.”
He added that the criticism of Rosen reflected a basic misunderstanding of how law offices operate, calling it “extremely rare” for a lawyer’s religious practices to interfere with their obligations, especially when senior attorneys delegate work and courts routinely grant continuances.
“No one works 24/7,” Broyde said.
The episode echoed a similar Shabbat-related incident during Trump’s first term. In his 2022 memoir, former Trump trade adviser Peter Navarro described how a group sought to undermine Trump son-in-law Jared Kushner’s role in the 2020 campaign by scheduling a key White House meeting with Trump on a Saturday, knowing Kushner — who is Shabbat observant — would not attend. Navarro titled the chapter recounting the episode, “Shabbat Shalom and Sayonara.”
The tension between Jewish observance and public life is not new. Senator Joe Lieberman, the first observant Jew to run on a major-party presidential ticket, famously walked to the Capitol for a Saturday vote and ate fish instead of meat at receptions. His longtime Senate colleague Chris Dodd joked that he became Lieberman’s “Shabbos goy.”
Still, Schoen said, visibility can cut both ways. During Trump’s impeachment trial, while speaking on the Senate floor, he reached for a bottle of water and instinctively paused. With one hand holding the bottle, he used the other to cover his head — a makeshift yarmulke — before drinking.
The moment was brief, but it did not go unnoticed. In the days that followed, Schoen said he heard from young Jewish men and businesspeople who told him that seeing the gesture made them feel more comfortable wearing their own yarmulkes at work.
The attention, he said, was unexpected. But for some in the Orthodox community, it became a source of pride.
“I felt honored,” Schoen said.
My guess in all seriousness is that he normally wears a yarmulke and this was reflex. Schoen is modern Orthodox so that would make sense. But I defer to @jacobkornbluh https://t.co/MkKx6W03v2
— Jake Tapper 🦅 (@jaketapper) February 9, 2021
Jacob Kornbluh contributed additional reporting.
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Deni Avdija becomes first Israeli to be selected as an NBA All-Star
(JTA) — Portland Trail Blazers star Deni Avdija’s meteoric rise has officially reached a new stratosphere, as the 25-year-old forward has become the NBA’s first-ever Israeli All-Star.
Avdija was named an All-Star reserve for the Western Conference on Sunday, an expected but deserved nod after the northern Israel native finished seventh in All-Star voting with over 2.2 million votes, ahead of NBA legends LeBron James and Kevin Durant. Avdija’s breakout performance this season has earned him repeated praise from James and others across the league.
Avdija’s star turn began last year in his first season with Portland, when he further captured the adoration of Jewish fans across Israel and the U.S. But he took another step forward this season, averaging 25.8 points, 6.8 assists and 7.2 rebounds per game. His points and assists clips are by far the best of his career, and rank 13th and 12th in the NBA, respectively. He’s considered a front-runner for the league’s Most Improved Player award.
For close observers of Israeli basketball, Avdija’s All-Star selection is the culmination of a promising career that began as a teenage star with Maccabi Tel Aviv and made him the first Israeli chosen in the top 10 in an NBA draft.
“Deni Avdija being named an NBA All-Star reserve is an unbelievable achievement in the mind of every Israeli basketball fan,” Moshe Halickman, who covers basketball for the popular Sports Rabbi website, wrote in an essay for the Jewish Telegraphic Agency. “This is a dream come true for many — a dream that became realistic and even a must-happen during his breakout season — but something that in his first five seasons in the NBA never came across as something that was going to be real.”
Halickman, who has covered Avdija in Washington, D.C., and in Israel, wrote that Avdija is not only considered the greatest Israeli hooper of all time, but perhaps the best athlete to come out of Israel, period.
Oded Shalom, who coached Avdija on Maccabi Tel Aviv’s Under-15 and Under-16 teams, echoed that sentiment in a recent profile of Avdija in The Athletic.
“Even though he is only 25, I think he is Israel’s most successful athlete in history,’’ Shalom said. “We’ve had some great gymnasts — and I hope everyone forgives me for saying it, because we’ve had some great athletes — but I think Deni has become the greatest.”
Avdija’s ascension has also come against the backdrop of the Gaza war and a reported global rise in antisemitism, which he has said affects him personally.
“I’m an athlete. I don’t really get into politics, because it’s not my job,” Avdija told The Athletic. “I obviously stand for my country, because that’s where I’m from. It’s frustrating to see all the hate. Like, I have a good game or get All-Star votes, and all the comments are people connecting me to politics. Like, why can’t I just be a good basketball player? Why does it matter if I’m from Israel, or wherever in the world, or what my race is? Just respect me as a basketball player.”
Now, Avdija’s talents will be on display at the NBA All-Star Game, on Sunday, Feb. 15, in Los Angeles.
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Democratic leader says GOP-led Congress boosted ICE funding while Jewish security is underfunded
House Democratic Leader Hakeem Jeffries used a Jewish gathering in New York on Sunday to spotlight what he described as an imbalance in federal priorities, building on outrage over the Trump administration’s violent crackdown in Minneapolis that resulted in two fatal shootings.
Jeffries criticized the Republican-controlled Congress for boosting immigration enforcement funding by billions while, he said, security funding for Jewish institutions continues to lag amid rising antisemitic threats. He said that in the One Big Beautiful Bill Act, which passed last July and included cuts to Medicaid, the Department of Homeland Security received an additional $191 billion, including $75 billion for ICE.
“If that can happen, then the least that we can do is ensure that this vital security grant program is funded by hundreds of millions of dollars more to keep the Jewish community and every other community safe,” Jeffries said.
The Nonprofit Security Grant Program, established by Congress in 2005 and administered by FEMA under the Department of Homeland Security, provides funding to nonprofits, including houses of worship, to strengthen security against potential attacks. Congress began significantly increasing funding in 2018 after a wave of synagogue attacks nationwide, bringing the program to $270 million today.
Major Jewish organizations are pushing to raise funding to $500 million amid rising antisemitic threats. Last year, the Trump administration briefly froze the program as part of broader agency cuts, and some groups have been reluctant to apply because applicants must affirm cooperation with federal immigration enforcement.
Jeffries said House Democrats strongly support an increase to $500 million annually to meet escalating security needs. “It’s got to be an American issue, because that is what combating antisemitism should be all about,” he said.
The breakfast, previously held at the offices of the UJA-Federation of New York, was held this year for the first time in the events hall at Park East Synagogue, which was the site of a pro-Palestinian protest last year that featured antisemitic slogans and posters.
Sunday’s program also included remarks from Senate Minority Leader Chuck Schumer, who told the audience that his support for Jewish security funding will only continue growing under his leadership, calling it his “baby.”
“As long as I’m in the Senate, this program will continue to grow from strength to strength, and we won’t let anyone attack it or undo it,” Schumer said.
Rep. Jerry Nadler, the co-chair of the Congressional Jewish Caucus who is retiring at the end of the year after 36 years in the House, also spoke at the event. Nadler, like several other Democrats in recent months, compared the actions of ICE agents to the Gestapo, Nazi Germany’s secret police. The comparison has drawn sharp criticism from Democrats, Republicans and Jewish leaders.
Support for Israel aid
Both Schumer and Jeffries vowed in their remarks to continue supporting U.S. military assistance to Israel, amid increasing calls within the party for sharper opposition to Israel. Polls show that Democratic voters are increasingly sympathetic to Palestinians. In July, a record 27 Senate Democrats, a majority of the caucus, supported a pair of resolutions calling for the blocking of weapons transfers to Israel.
“I think it’s the humane thing to do to ensure that Israel has a right to exist as a Jewish and democratic state and eternal homeland for the Jewish people,” Jeffries said. The House Minority Leader, who has cultivated close ties with Jewish leaders since his election in 2012, noted that he has visited Israel nine times. He recalled that on his recent trip, Israel’s ambassador to the U.S., Yechiel Leiter, joked that it might be time for Democrats to buy property in Jerusalem.
Schumer, the nation’s highest-ranking Jewish elected official, has seen his popularity decline and has faced calls to step down from his role as leader. On Sunday, he pledged that he “will always fight to give Israel what it needs to protect itself from the many who want to wipe Israel off the face of the map.”
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