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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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What rabbinic wisdom taught me in the wake of the BAFTA scandal
When I woke up Monday, the first message I saw was from a friend asking if I’d seen the “Sinners Tourette’s thing from the BAFTAs.” The “Sinners Tourette’s thing” took place Sunday night, when John Davidson, the subject of the BAFTA-nominated film I Swear, about living with Tourette’s, shouted the N-word while Black Sinners actors Michael B. Jordan and Delroy Lindo presented an award.
This sparked thoughtful online conversations about racism and understanding coprolalia, a form of Tourette’s that presents as involuntarily uttering obscenities. It also led to criticism of BAFTA and the BBC for not intervening after the reportedly slur was thrown at other attendees earlier and for censoring a pro-Palestine statement but not the N-word (a BBC spokesperson said the statement was cut for time and has now censored the slur on the BBC iPlayer video of the BAFTAs).
Of course, productive dialogue online was overshadowed by vitriolic racism and ableism attempting to villanize both parties involved.
As I read about the controversy, I was reminded of ona’at devarim, a Talmudic prohibition against verbally harming someone else, through purposefully shaming them, spreading gossip or giving bad advice.
The embarrassment here, to me, appears twofold. Shaming Davidson could have further embarrassed him. But Jordan and Lindo had already been publicly embarrassed, and that needed to be rectified.
When is publicly calling out behavior useful — such as establishing boundaries around slurs — and when is it vengeful? And how much does intent versus impact matter?
I reached out to several rabbis to learn how Jewish values could help me understand this situation — and how to think about accountability when a billion people can see your mistakes in a matter of seconds.
Rabbi Shais Rishon, known by his pen name MaNishtana, leads the congregation Ohel Eidot CHeMDaT’’A, a D.C. synagogue for African American and Caribbean Jews. In our conversation, he noted that many people were embracing racism or ableism, when they should be acknowledging the situation’s nuances.
“There’s a lot of little parts here and in these kinds of conversations. I always say it’s important to move into them with three sort of goal posts in mind,” said Rishon. “The first is that multiple things can be true at the same time. Second is multiple things can be wrong at the same time. And the third is explaining how to make this work so it doesn’t absolve from accountability or agency.”
Rabbi Lauren Tuchman, who focuses on disability access and inclusion in the Jewish world, emphasized making sure accountability is not overlooked.
“Sometimes I actually worry that the standards are not applied appropriately when harm happens when a disabled person causes the harm,” said Tuchman, who is a fully blind person. “You don’t want a situation where any kind of apology is like meeting the needs of the offender and not at all meeting the needs of those who are harmed.”
Even so, everyone’s unique situation must be accounted for. Both Tuchman and Rishon believed Davidson should apologize to Jordan and Lindo, but cautioned against mistaking Davidson owning what he did as him admitting to having done it on purpose.
“Nothing can be universalized here and everything is so case-specific, especially when that offensive speech is actually not in this person’s control,” said Tuchman.
Tuchman noted that everyone is entitled to their feelings when met with offensive language, even if it’s unintentional, something she has dealt with a lot. Sometimes she decides “They didn’t mean it, I’m just gonna try to let it go.” But, she said, “you make that choice for yourself and your own integrity.”
“I think that there are ways in which we need to be able to allow for us to feel what we feel, and then to make wise choices about how we act,” she added.
It doesn’t seem to me that what Davidson needs and what Jordan and Lindo need have to be in conflict with one another. Rishon pointed to tochecha, the obligation in Leviticus to reprimand and correct improper behavior in a way that betters the community.
“It’s not supposed to be done in sort of that embarrassing way,” said Rishon. “It’s not about spectacle. It’s about transformation.”
Next, Tuchman said, we must embrace the value of teshuva: correcting our mistakes by realigning with our morals in our actions and deeds.
“The Rambam talks about needing to acknowledge the wrongdoing [and] really take responsibility,” Tuchman said. “And then engage in restitution in whatever way that makes sense.”
“This is somebody with a personal challenge, and maybe there’s a personal conversation and apology to happen,” Rishon said. “There’s no need for us to excoriate him because he has no control.”
Rishon suggested scrutiny should be focused on the BBC and BAFTA, for their “ lack of attentiveness, their lack of fastidiousness, [and] their lack of sensitivity.”
As I spoke to Rishon and Tuchman, I couldn’t help but think that what Judaism asks of us feels more difficult when social media demands its users have instant and loud reactions to anything and everything. In another world, those involved could sort it out privately, and heal in their own time. But when an incident can be shared across the world in minutes, the apology becomes a public matter. And if you don’t do what the internet demands of you immediately, you’re automatically villanized.
From Rishon and Tuchman, I gathered that instead of focusing on who is right and who is wrong, we should take a breath and ask what we need to move forward in community. It’s embarrassing to be called a slur on television; it’s embarrassing to utter that slur when you can’t control it. But it’s happened. How can we respond as people who want to be better than we were before?
I still wouldn’t say I have all the answers for this situation or whatever the next attempt at public shaming may be. But I feel a lot more confident knowing I can turn to the advice of the rabbinic sages — and not just someone on X.
The post What rabbinic wisdom taught me in the wake of the BAFTA scandal appeared first on The Forward.
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US to Offer Passport Services in West Bank Settlement for First Time
The Israeli national flag flutters as apartments are seen in the background in the Israeli settlement of Efrat in the West Bank, Aug. 18, 2020. Photo: REUTERS/Ronen Zvulun
The US will provide on-site passport services this week in a settlement in the West Bank, marking the first time American consular officials have offered such services to Israeli settlers in the territory, US officials said on Tuesday.
Much of the international community considers Israeli settlements in the West Bank illegal under international law.
Israel disputes this, citing historical and biblical ties to the area. It says the settlements provide strategic depth and security. Defenders of Israel also note that, while about one-fifth of the country’s population is Arab and enjoys equal rights, Palestinian law forbids selling any land to Israelis.
TENS OF THOUSANDS OF AMERICAN-ISRAELIS IN WEST BANK
US President Donald Trump, a staunch supporter of Israel, has said he opposes Israeli annexation of the West Bank. But his administration has not taken any measures to halt settlement activity, which has reportedly risen since he took office last year.
In a post on X, the US Embassy in Jerusalem said that as part of efforts to reach all Americans abroad, “consular officers will be providing routine passport services in Efrat on Friday, Feb. 27,” referring to a settlement south of the Palestinian city of Bethlehem.
The Embassy said it would plan similar on-site services in the Palestinian West Bank city of Ramallah, in the settlement of Beitar Illit near Bethlehem, and in cities within Israel such as Haifa.
The US offers passport and consular services at its Embassy in Jerusalem as well as at a Tel Aviv branch office. The number of dual American-Israeli nationals living in the West Bank is estimated to be in the tens of thousands.
Asked for comment, an embassy spokesperson said: “This is the first time we have provided consular services to a settlement in the West Bank.” The spokesperson said similar services were being offered to American-Palestinian dual nationals in the West Bank.
The move came after Israel’s cabinet last week approved measures to make it easier for settlers to buy land, a move Palestinians called a “de facto annexation.”
Much of the West Bank is under Israeli military control, with limited Palestinian self-rule in areas run by the Western-backed Palestinian Authority.
Efrat, the Jewish settlement where American consular officials will provide passport services on Friday, is home to many American immigrants. The US Embassy said it did not have data on the number of Americans living there.
More than 500,000 Israeli settlers live in the West Bank, home to 3 million Palestinians. Most settlements are small towns surrounded by fences and guarded by Israeli soldiers.
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CAIR Official Claims Israel Harvests, Collects Skin of Palestinians
Executive Director of the Ohio chapter of the Council on American-Islamic Relations (CAIR-OH) Khalid Turaani, speaks at a press conference, July 9, 2025. Photo: USA TODAY Network via Reuters Connect
A senior Council on American-Islamic Relations (CAIR) official claimed Israel harvests and collects the skin of deceased Palestinians at a recent Ohio state Senate Judiciary Committee hearing.
“Israel has the largest human skin bank in the world,” Khalid Turaani, executive director of CAIR’s chapter in Ohio, said last week at a hearing on adopting the International Holocaust Remembrance Alliance’s (IHRA) working definition of antisemitism.
“Where do you think they got all this skin from? They have more human skin than China and India. They are literally skinning the dead bodies of my brothers and sisters in Palestine,” Turaani continued. “And if I call them Nazis, your law [adopting the IHRA definition of antisemitism] is going to punish me.”
CAIR-Ohio Executive Director Khalid Turaani spread a blood libel in the Ohio State Senate, falsely claiming Israel “skins” Palestinians and runs the “largest human skin bank in the world.”
An outrageous and dangerous old antisemitic conspiracy. pic.twitter.com/U5aj4EwRMl
— Combat Antisemitism Movement (@CombatASemitism) February 26, 2026
Scholars and activist groups have described the conspiracy theory of Israeli organ harvesting as a modern version of the antisemitic blood libel rooted in medieval conspiracies charging that Jews murdered Christian children and drank their blood during the holiday of Passover. The organ harvesting claim dates back to 2009, when a Swedish tabloid published an erroneous article saying that the Israel Defense Forces (IDF) kills Palestinians to provide organs to Israeli hospitals.
“In the 1990s, one Israeli facility (the Abu Kabir Forensic Institute) [ran by Dr. Yehuda Hiss] took organs from IDF soldiers, Israeli civilians, Palestinians, foreign workers, and others whose corpses came into the institute, without seeking permission from the families of the deceased,” the Anti-Defamation League (ADL) noted in an article debunking the conspiracy.
“In a state inquiry report, Israeli authorities found ‘no evidence that Hiss targeted Palestinians; rather, he seemed to view every human body that ended up in his morgue, whether Israeli or Palestinian, as fair game for organ harvesting,” the ADL continued. “The families of dead Israeli soldiers were among those who complained about Hiss’s conduct.”
There is no evidence that such activity has happened since the 1990s.
Nonetheless, Palestinian media has repeatedly invoked the organ harvesting conspiracy, which has been picked up by anti-Israel activists in the West.
Last week’s hearing came about four months after Turaani took part in an online event in October alongside a senior member of Hamas who has been sanctioned by the US government and other individuals tied to the Hamas and Palestinian Islamic Jihad (PIJ) terrorist organizations.
Turaani moderated the event hosted by the Beirut-based Al-Zaytouna Center titled “Palestinians Abroad and Regional and International Strategic Transformations in the Light of Al-Aqsa Flood.” The term “Al-Aqsa Flood” is the name Hamas gave to its Oct. 7, 2023, invasion of and massacre across southern Israel, in which Palestinian terrorists murdered 1,200 people and dragged 251 hostages back to Gaza.
Among the speakers was Majed al-Zeer, who was sanctioned by the US Treasury Department in October 2024 for his role as a senior Hamas operative in Europe.
Also featured was Ziad el-Aloul, a Hamas-linked activist involved with the European Palestinians Conference and the Popular Conference for Palestinians Abroad, both groups accused by Israeli authorities of operating as Hamas fronts in Europe.
CAIR has drawn scrutiny in the past over its alleged ties to foreign terrorist groups. In the 2000s, CAIR was named as an unindicted co-conspirator in the Holy Land Foundation terrorism financing case. Politico noted in 2010 that “US District Court Judge Jorge Solis found that the government presented ‘ample evidence to establish the association’” of CAIR with Hamas.
According to the ADL, “some of CAIR’s current leadership had early connections with organizations that are or were affiliated with Hamas.”
CAIR has strongly disputed the accuracy of the ADL’s claim and asserted that it “unequivocally condemn[s] all acts of terrorism, whether carried out by al-Qa’ida, the Real IRA, FARC, Hamas, ETA, or any other group designated by the US Department of State as a ‘Foreign Terrorist Organization.’”
In November 2023, CAIR co-founder and executive director Nihad Awad said “yes, I was happy to see people breaking the siege and throwing down the shackles of their own land, and walk free into their land, which they were not allowed to walk in,” referring to Hamas’s Oct. 7 atrocities.
“The people of Gaza only decided to break the siege — the walls of the concentration camp — on Oct. 7,” he said.
About a week later, the executive director of CAIR’s Los Angeles office, Hussam Ayloush, said that Israel “does not have the right” to defend itself from Palestinian violence. He added in his sermon at the Islamic Society of Greater Oklahoma City that for the Palestinians, “every single day” since the Jewish state’s establishment has been comparable to Hamas’s Oct. 7 onslaught.
CAIR has been a fierce critic of IHRA’s definition of antisemitism, arguing it aims to silence legitimate criticism of Israel.
IHRA — an intergovernmental organization comprising dozens of countries including the US and Israel — adopted the “working definition” of antisemitism in 2016. Since then, the definition has been widely accepted by Jewish groups and lawmakers across the political spectrum, and it is now used by hundreds of governing institutions, including the US State Department, European Union, and United Nations.
According to the definition, antisemitism “is a certain perception of Jews, which may be expressed as hatred toward Jews. Rhetorical and physical manifestations of antisemitism are directed toward Jewish or non-Jewish individuals and/or their property, toward Jewish community institutions and religious facilities.” It provides 11 specific, contemporary examples of antisemitism in public life, the media, schools, the workplace, and in the religious sphere. Beyond classic antisemitic behavior associated with the likes of the medieval period and Nazi Germany, the examples include denial of the Holocaust and newer forms of antisemitism targeting Israel such as demonizing the Jewish state, denying its right to exist, and holding it to standards not expected of any other democratic state.