The findings will be formally presented at the Senate in Palazzo Giustiniani on March 3.
According to the CDEC, anti-Israel animus was a key ideological driver of the surge in antisemitism.
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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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Antisemitism Spikes to Record Levels in Italy, New Data Shows
A protester uses a pole to break a window at Milano Centrale railway station, during a demonstration that is part of a nationwide “Let’s Block Everything” protest in solidarity with Gaza, with activists also calling for a halt to arms shipments to Israel, in Milan, Italy, Sept. 22, 2025. Photo: REUTERS/Claudia Greco
Antisemitism in Italy surged to record levels last year, according to newly published figures, as Jews and Israelis across Europe continued to face a relentlessly hostile environment including harassment, vandalism, and targeted attacks.
In Italy, the Milan-based CDEC Foundation (Center of Contemporary Jewish Documentation) confirmed that antisemitic incidents in the country almost reached four digits for the first time last year.
Of 1,492 reports submitted through official monitoring channels, the CDEC formally classified a record high 963 cases as antisemitic, according to the European Jewish Congress and Union of Italian Jewish Communities (UCEI), the main representative body of Jews in Italy.
By comparison, there were 877 recorded incidents in 2024, preceded by 453 such outrages in 2023 and just 241 in 2022. The data fits with several reports showing antisemitism surged across the Western world, especially the US and Europe, following the Palestinian terrorist group Hamas’s Oct. 7, 2023, massacre across southern Israel.
“The main ideological matrix that has fueled hatred against Jews is anti-Semitism linked to Israel – i.e., the transfer of anti-Jewish myths, such as blood libel, racism by election, and hatred of mankind,” the organization stated.
In May, for example, a restaurant in Naples ejected an Israeli family, telling them “Zionists are not welcome here.” Months earlier, demonstrators at a January protest in Bologna vandalized a synagogue, painting “Justice for a free Gaza.”
Most of the incidents, 643, occurred online on digital platforms, while 320 involved physical acts such as graffiti, vandalism, and desecration of synagogues in addition to discrimination, threats, and assaults.
The surge in antisemitism came amid multiple surveys showing pervasive antisemitic attitudes among the Italian public.
Around 15 percent of Italians consider physical attacks on Jewish people “entirely or fairly justifiable,” according to one survey published in September.
The survey, conducted on Sept. 24-26 by the pollster SWG among a national sample of 800 adults, found that 18 percent of those interviewed also believe antisemitic graffiti on walls and other public spaces is legitimate.
About one-fifth of respondents said it was reasonable to attack professors who expressed pro-Israeli positions or for businesses to reject Israeli customers.
Months earlier, in June, the Italian research institute Eurispes, in partnership with Pasquale Angelosanto, the national coordinator for the fight against antisemitism, polled a representative sample of the country’s population and found that 37.9 percent of Italians believe that Jews “only think about accumulating money” while 58.2 percent see Jews as “a closed community.”
About 40 percent either did not know or did not believe that 6 million Jews died in the Holocaust, and the majority of respondents — 54 percent — regarded antisemitic crimes as isolated incidents and not part of any broader trend.
The report also showed elevated levels of anti-Israel belief among younger Italians, with 50.85 percent of those 18-24 thinking that “Jews in Palestine took others’ territories.”
The Institute for Jewish Policy Research estimates the number of Jews in Italy as ranging from 26,800 to 48,910 depending on which standards of observance one selects. Eurispes places the number at 30,000.
In January, the Anti-Defamation League released the newest results of its Global 100 survey which found that 26 percent of Italians — 13.1 million adults — embrace six or more antisemitic stereotypes.
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Israeli bobsled captain on Olympics exit: ‘Holy endeavor’ slammed into rigid rule
The man who piloted the Israeli bobsled team to its first-ever Olympic Games defended the athlete-swapping scheme that led to the team’s removal from competition, saying in an interview with the Forward that the Israeli sporting authority blew the incident out of proportion.
The Olympic Committee of Israel said it pulled the team after learning that a member had faked an illness in order to allow the substitution of a teammate in his place.
AJ Edelman, the team’s captain, did not contest that account. He said that the substitution was unanimously agreed to by the group, calling it “essentially a normal maneuver” at the Olympics given what he called a “somewhat arbitrary” rule that allows alternates to compete only when an athlete is medically unable to continue.
The reason it didn’t work, he said, was that the teammate chosen to fake sick tipped off the Israeli committee, which needed to approve the substitution.
“We’re not the only team to have made that sort of substitution in the competition,” Edelman, 34, said in a phone interview with the Forward from Prague, shortly after midnight local time Tuesday. “We are the only team for which the person then was just upset that he was the one doing it and made a scene about it.”
The swap would have made Ward Fawarsy, who was traveling with the squad as an alternate, the first Druze Israeli to appear in Olympic competition. Instead, the committee pulled the team before its third race, cutting short Israel’s run with two heats remaining.
The Israeli committee said in a statement that it had reported the matter to the International Olympic Committee and would conduct an investigation after the Games.
The exit — which Edelman characterized as a voluntary withdrawal — blighted a budding underdog success story. The team, nicknamed “Shul Runnings” (a play on the title of a popular movie about the 1988 Jamaican team), had scrapped its way into the Olympics without financial support from Israel — largely thanks to the perseverance of Edelman, its indefatigable spearhead, who told the Forward he saw the team as a “holy endeavor.”
Without a national sports program behind him, Edelman, a former MIT hockey goaltender, had recruited Israeli athletes from other sports to the project — Zisman was a former pole vaulter, Fawarsy played rugby — and crowdfunded relentlessly to pay for their training. He said this year was the first he broke even, with the team’s costs totaling to around $300,000.
After narrowly missing qualification in 2022 and 2026, Israel broke through in January, receiving an invitation after the United Kingdom decided to send only one team instead of two.
But at the end of a whirlwind month in which the team was burglarized at its pre-Olympic lodgings, booed at the opening ceremony and drawn into controversy involving multiple foreign broadcasters, Israel’s withdrawal left it below teams that crashed in the final results for 4-man bobsled, marked “Did Not Start” on the scoresheet.
Israel also finished last out of 26 teams in 2-man sled.
Taking the plunge
The fake illness plan was set in motion after the second of four heats in the 4-man competition, with Israel in 24th place out of 27 and medaling out of reach.
Olympic rules generally do not allow alternates to compete unless a team member has to withdraw due to injury or illness. The idea to fake an injury, according to Edelman, had been Zisman’s earlier in the year, when it appeared that he, not Fawarsy, would be the alternate. Edelman said he nixed the proposal at the time.
But in Italy, with Fawarsy the alternate due to a pre-Olympics injury, Edelman went for the switch.
“Ward’s inclusion was important because of his years of service to the team, because of who he was and because of who he represented,” Edelman said. “I was quite proud that a group of young Israelis took a look at their brother, their teammate, and said, ‘This is important for you. This is important for us.’”
After the group agreed to the plan, the question became which team member would drop out.
According to Edelman, Zisman thought it should be Menachem Chen, because he had raced with Edelman in the 2-man. But Zisman, Edelman said, “was the weakest performer. And given that Ward’s position was his position in the sled, they were somewhat interchangeable.”
Zisman appeared to begrudgingly go along with the arrangement at first, undergoing a medical exam and signing an affidavit to support the substitution request, according to Israeli officials. But Edelman said that during that process, Zisman volunteered that “another athlete should do it instead, and at that point Israel made it what it became.”
Edelman said his team’s alternate substitution ploy was not uncommon at the Olympics.
The Olympic Committee of Israel said in a statement that Zisman had admitted to the head of the delegation that he had acted improperly, forcing the committee to withdraw the request and disqualify the move.
“The Olympic Committee of Israel views any deviation from the Olympic values as unacceptable and cannot accept inappropriate behavior,” the OCI statement added. “It should be emphasized that, up to this point, the participation of the bobsleigh delegation has taken place in the spirit of sport and without any violations by the athletes.”
The Israel committee did not respond to questions sent by the Forward, and Zisman did not respond to a request for comment.
Edelman flatly disagreed with the committee’s decision.
“We felt that it was completely fine, given that it was essentially a normal maneuver,” Edelman said. “It was really blown into something that we hadn’t expected. Israel insisted on sort of making an example of the situation.”
Iced out of Italy
The incident capped a Winter Olympics in which Israel appeared in more headlines due to controversy than competition. The country did not medal at Milan Cortina — it has never medaled at a Winter Games — and most of its athletes ended competition in the bottom half of contestants.
The first Israeli delegation to compete at the Winter Olympics since the attacks of Oct. 7, 2023, was also a frequent target at the Games. Much of the ire from foreign press and other athletes targeted Edelman, who has been a vocal defender of Israel’s war in Gaza on social media.
As Israel was racing in the 2-man event, a commentator for a Swiss TV broadcast listed Edelman’s comments and actions related to the war, which it said were “in support of the genocide in Gaza.” The network later apologized.
An Italian commentator also landed in hot water after he told someone off camera but on live air to avoid the Israeli team.
Edelman said the hostility extended to his fellow bobsled athletes, and claimed that one had called the team “baby killers.” He declined to name the athlete or say what country he represented.
“I take a look at a guy like that, who has made the Olympics a couple of times, and I go, ‘What a loser,’” Edelman said. “He spends his time worrying about Israelis or Jews? What a total loser. So I just don’t put too much stock in it.”
Edelman did not want to highlight the role Fawarsy’s ethnic background played in the team’s decision to break the rules, saying doing so “minimizes him as an athlete and it minimizes him as a person, into something demographic.” At the same time, he appeared to allude to Fawarsy serving in the IDF as a reason for his inclusion.
On Oct. 12, 2023, Edelman posted a picture of Fawarsy to Instagram, writing in the caption that his teammate was “serving on the front lines right now.” (He edited the caption earlier this month to, “Love Ward. Send him a message with your support!”)
“He served Israel with distinction and a level of heroism that all of us aspire to have in our lives,” Edelman told the Forward, adding, “Ward earned it and deserved it as much, if not more, than any of the other guys.”
Fawarsy did not respond to an inquiry.
Frozen fallout
Few in the public sphere have found inspiration in the team’s intentional rule-breaking, even done in service of a Druze athlete’s achievement. Israel’s i24 news broadcast called it a “dramatic and disappointing development.” The Times of Israel said the team’s “legacy was tainted.”
And David Greaves, the president of the Israeli Bobsleigh and Skeleton Federation, told Times of Israel that he was “deeply disappointed in the actions of the team.”
Edelman maintained that the public reaction reflected a lack of context about how the sport tends to operate.
He compared the move to a football player seeking medical treatment to stop the clock or buy time for fatigued teammates. But that ploy, he noted, conferred a competitive advantage his team’s swap had not.
The rule that alternates could not compete was arbitrary in Edelman’s view because it was mostly designed to limit the census of the Olympic Village. He said that other teams had similarly broken the rule with none the wiser.
“When you take a look at the sport from the outside and don’t understand how the sport works, what the usual behavior is in the sport and why things are the way they are,” he said, “the decision seems like a very heavy risk to have taken on. The move is not unusual. It is not uncommon whatsoever.”
It did not appear that any other men’s bobsled teams made substitutions at the 2026 Games. It was unclear how many alternates ultimately competed at Milan Cortina.
At least one alternate was substituted in in another sport: Rich Ruohonen, an athlete on the U.S. curling team, entered competition late in a match with his team facing a near-insurmountable deficit. His throws made Ruohonen the oldest-ever U.S. Winter Olympian. It was unclear how he was able to substitute, and U.S. broadcasters embraced the moment. (Ruohonen could not be reached for comment.)
In a statement to X following news of the team’s withdrawal, Edelman took accountability for the decision and said he believed he had been “putting the country first.” And while he believed Israel was held to a higher standard than other countries, he was not sure that should have influenced his team’s choices.
“A lot of people have asked, ‘Would you do it again?’” Edelman told the Forward. “I think it would have been very hard in the future for all of us to take a look back on it and go, ‘You know, every other team does this sort of thing — we were just not going to get Ward in there because we’re looked at extra harshly if something goes wrong.’
“Again, it’s tough to explain to outsiders who don’t know the sport,” he continued. “So I feel very comfortable and confident in the decision that the team unanimously took.”
The post Israeli bobsled captain on Olympics exit: ‘Holy endeavor’ slammed into rigid rule appeared first on The Forward.
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NYC Officials Sue Mamdani Over Failure to Disclose Docs on Decision to Scrap IHRA Definition of Antisemitism
Candidate Zohran Mamdani speaks during a Democratic New York City mayoral primary debate, June 4, 2025, in New York, US. Photo: Yuki Iwamura/Pool via REUTERS
A group of Queens elected officials and civic leaders has filed suit against New York City Mayor Zohran Mamdani, accusing his administration of stonewalling a Freedom of Information Law (FOIL) request related to his decision to revoke an executive order adopting the International Holocaust Remembrance Alliance (IHRA) definition of antisemitism.
The lawsuit centers on Mamdani’s move on his first day in office in January to rescind a series of executive orders issued by his predecessor, former Mayor Eric Adams, to combat antisemitism. Among the orders revoked was one formally adopting the IHRA definition, which has been widely embraced by governments and institutions across the democratic world.
Plaintiffs include Queens Councilmembers Joann Ariola and Vickie Paladino, along with Queens Civic Congress President Warren Schreiber, the Queens Daily Eagle reported last week.
They argue that the mayor’s office has failed to provide adequate transparency regarding the rationale behind rescinding the IHRA order, a move critics say weakened the city’s formal commitment to combating antisemitism at a time of rising anti-Jewish incidents both locally and nationally.
“The purpose of the FOIL applications at issue in this proceeding is to decipher and obtain the documentary trail of information illuminating Mayor Mamdani’s motives, policies, programs, legislative initiatives, and budgetary priorities implicated within the EO [executive order],” the lawsuit reads.
In their filing, the plaintiffs accuse the administration of having “stonewalled, deflected, delayed, and denied” their FOIL request, calling the response timeline “arbitrary and capricious.” Although the city’s Law Department acknowledged receipt of the request and projected a response date in April, the plaintiffs contend that such delays are unacceptable given the gravity of the issue. The lawsuit characterizes Mamdani’s actions as “anti-Israel” and “anti-Jewish.”
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. Law enforcement also uses it as a tool for matters such as hate-crime investigations and sentencing.
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.
Jewish community advocates have expressed alarm that rescinding the executive order could signal a retreat from clear standards at a moment when antisemitic incidents have surged in the two years following Hamas’s Oct. 7, 2023, massacre across southern Israel.
The Israeli government and leading US Jewish groups sharply criticized Mamdani’s decision.
Mamdani’s supporters say the move was part of a broader action by Mamdani to revoke all executive orders issued by Adams since Sept. 26, 2024, when the ex-mayor was indicted for corruption, charges of which have since been dismissed. Mamdani’s office has framed the move as an administrative reset rather than a targeted policy shift, saying the new mayor sought to begin his term with a clean slate.
However, critics argue that lumping the IHRA adoption together with other rescinded orders was, at best, careless and, at worst, reflective of an ideological discomfort with pro-Israel policy frameworks.
The New York Times reported last month that Mamdani “knew from the moment he won the election” in November that he would revoke the executive orders related to Israel and antisemitism but believed rescinding them would upset Jewish groups whose concerns he spent months trying to allay. Therefore, the report continued, Mamdani’s team laid out a few options, and he chose to rescind every order that Adams issued after his indictment, “allowing him to frame the choice as a matter of good governance.”
The lawsuit now seeks a court order compelling the mayor’s office to produce internal communications and documentation explaining the decision-making process behind the revocation.
The IHRA definition could have been problematic for Mamdani, a far-left democratic socialist and avowed anti-Zionist who has made anti-Israel activism a cornerstone of his political career and been widely accused of promoting antisemitic rhetoric. A supporter of boycotting all entities tied to Israel, he has repeatedly refused to recognize Israel’s right to exist as a Jewish state; routinely accused Israel of “apartheid” and “genocide”; and refused to clearly condemn the phrase “globalize the intifada,” which has been used to call for violence against Jews and Israelis worldwide.
Leading members of the Jewish community in New York have expressed alarm about Mamdani’s electoral victory, fearing what may come in a city already experiencing a surge in antisemitic hate crimes.