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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 chance for the descendants of Holocaust victims to reclaim a piece of the past
Levi Buxbaum boarded the S.S. St. Louis on May 13, 1939, both relieved and hopeful. Relieved to be leaving Nazi Germany behind, hopeful that he would soon reunite with his daughters. But 14 days later, when the ship arrived in Havana, most of its passengers were denied entry.
Refused safe harbor in Cuba, the United States and Canada, the refugees were forced to return to Europe. That June, Buxbaum and 222 other passengers disembarked in France. Discouraged but undeterred, he clung to the hope that he would eventually secure a visa to America.
It was not to be. Sometime between Nov. 6 and Nov. 8, 1942, Buxbaum died aboard a transport bound for Auschwitz-Birkenau. Until recently, that was all Bonnie Elkaim knew about her great-grandfather.
Now, thanks to the Center for Jewish History’s newly launched initiative, “Histories and Mysteries,” Elkaim knows what happened between Buxbaum’s arrival in France in 1939 and his death three years later. The project helps families investigate Holocaust-era cold cases through crowdsourced genealogy, expert archival research and community collaboration.
“I’m extremely grateful that I filled in some of the pieces. I didn’t want my great-grandfather to just be a statistic,” Elkaim, 58, told me in a Zoom interview.
The initiative was made possible by a nearly $300,000 grant from the Conference on Jewish Material Claims Against Germany, or the Claims Conference. Since the project was launched in January, genealogists at CJH have received nearly 50 inquiries from the United States, Germany, Austria, the United Kingdom, and Canada, and have begun work on 11 cases.
“This project brings together passed-down family stories and the irreplaceable truth found in the archive. By taking part in this work, each person helps restore histories stolen in the Holocaust and gives families a chance to reclaim pieces of their past,” said Jenny Rappaport, head genealogist at the Ackman & Ziff Family Genealogy Institute.
Elkaim’s story will be the first shared publicly, released in weekly social media posts through July 31.
Miriam Frankel, CJH’s director of social media, said she hopes the project’s collaborative nature will resonate with audiences.
“What I love about the project is the communal aspect and being able to steward these stories into the digital world and affirm that they matter,” Frankel said.
The idea for the project grew out of the family history of Ilana Rosenbluth, CJH’s communications director.
When Nazi Germany invaded Poland on Sept. 1, 1939, Rosenbluth’s father, then four years old, was living with his parents in eastern Poland. By month’s end, the country had been divided between Germany and the Soviet Union.
Rosenbluth’s family fled eastward, moving from Lvov to Siberia and eventually Uzbekistan, where food was scarce and disease rampant. During that time, her grandmother gave birth to a daughter, Lucia, known as Lucy, who later died of starvation.
In 1943, desperate to support his family, Rosenbluth’s grandfather boarded a train carrying bolts of fabric and disappeared.
“There are varying accounts of what happened to him, but the truth is my family has never had closure,” Rosenbluth said, adding that this initiative may be the last chance for us, and people like us to find answers.
As the number of living witnesses declines, preserving Holocaust history has taken on new urgency, said Gideon Taylor, president of the Claims Conference.
“We’re at a unique moment in time in terms of Holocaust memory and education. Fewer and fewer people have direct knowledge of it,” Taylor said.
A 2020 Claims Conference survey found that 63% of Americans do not know that six million Jews were murdered in the Holocaust, and nearly half cannot name a single one of the more than 400,000 camps and ghettos that existed across Europe.
Elkaim, a retired New York City teacher, says she first learned about the Holocaust when she was nine years old.
“I only knew a few limited facts. I knew my grandparents had survived and my great-grandfather hadn’t. My grandmother felt a lot of survivor guilt and didn’t talk about it, and people didn’t ask questions then,” she said.
Now an educator and guide at CJH’s Anne Frank exhibition, Elkaim spent years searching for fragments of information that might transform her great-grandfather from an abstraction into a living, breathing person.
“I wanted to feel a connection with him,” she said.
When Rappaport received Elkaim’s inquiry, she immediately began contacting archivists in Germany and France. She also worked with CJH partner organizations, including the Leo Baeck Institute and YIVO, which held a census record from the General Union of French Israelites. The document placed Buxbaum in Vienne, France, between 1941 and 1942 and showed that he was unemployed. Rappaport also combed databases such as Ancestry.com, which contains extensive German vital records.
“Sometimes a single clue can rewrite an entire family story,” Rappaport said.
In Elkaim’s case, it was three clues.
The first breakthrough was the death record of Elkaim’s great-grandmother, Pauline Rothschild Buxbaum, which confirmed that he was in Kassel, Germany, on March 24, 1939.
Next came his 1876 German birth record, which verified his identity across multiple French documents.
Finally, a typed marriage record for Levi Buxbaum and Pauline Rothschild further confirmed the timeline, placing him definitively in Germany shortly before his flight from Nazi persecution.
Piece by piece, Rappaport reconstructed what followed.
In September 1939, Buxbaum was interned as an “enemy alien” at Camp du Ruchard, a former convalescence hospital for Belgian soldiers after World War I. He lived as a refugee for four years before being arrested and transferred to the Drancy internment camp. All the while he never stopped trying to get to America.
The last document bearing his name appears on Transport 42 from Drancy to Auschwitz-Birkenau.
“He either died on the transport or immediately after arriving. There’s no way to know exactly. But I admire him so much and how hard he fought to survive,” Elkaim said.
The post A chance for the descendants of Holocaust victims to reclaim a piece of the past appeared first on The Forward.
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Jews and other minorities face similar levels of campus hostility, Brandeis survey finds
The first academic study comparing the experience of Jewish students on college campuses to that of other minority groups found that Jews and other marginalized populations, including Black and Muslim students, face comparable levels of discrimination.
The findings were part of a national survey involving thousands of respondents focused on antisemitism that also polled student attitudes toward other identity groups.
Nearly half of Jewish students said they had experienced at least one antisemitic incident during the current academic year — mostly seeing offensive graffiti or posters — but when it came to the overall campus climate Jews were slightly less likely than Muslims, and slightly more likely than Black students, to say that their campus was a hostile environment.
“Everybody is walking around with a chip on their shoulder,” said Leonard Saxe, director of the Cohen Center of Modern Jewish Studies at Brandeis University, which produced the study released Tuesday. “Addressing prejudice toward protected groups is perhaps seen as a zero- sum game: ‘If we pay attention to Black students that’s taking away from what we can do for Jewish students, but paying attention to Jewish students means not paying attention to Muslim students.’”
While a flurry of research about campus antisemitism followed the Oct. 7 Hamas terrorist attacks in Israel and the college protests of the Gaza war that followed, few have sought to determine whether Jews are facing more or less discrimination than other students.
But the Brandeis study tracks with a less scientific study commissioned by the antisemitism task force at Columbia University in which high levels of both Jewish and Muslim students said they had felt endangered on campus amid protests related to the Gaza war.
In the Brandeis report, Jewish students were most likely to express concern related to traditional antisemitic stereotypes (62%) and antisemitism from the political right (60%) while fewer said they were worried about antisemitism related to Israel (45%) or coming from the left (also 45%).
When it came to college students overall, 9% showed a pattern of hostility toward Jews, meaning they were likely to agree with a series of antisemitic statements, compared to 17% who exhibited what researchers called “anti-Black resentment.”
Muslim, Black and Hispanic students, and those who identified as liberal or moderate, were the most likely to agree with negative statements about Jews, while white, Muslim and conservative students were most likely to agree with anti-Black views.
“It means that we need to target some of our interventions — educational interventions — to these groups if we want to have effects,” Saxe said. “If you only engage the Caucasian students, you’re not going to be addressing the problem.”
Jewish students expressed some of the lowest levels of prejudice toward other groups, according to the study, but 18% expressed “anti-Black resentment” while 3% were categorized as expressing hostility toward Jews.
The report also found that strident hostility toward Israel — opposing Israel’s “right to exist” and avoiding peers who support a Jewish state in Israel — did not neatly correlate to holding antisemitic views.
Half of “extremely liberal” students agreed with those statements about Israel but overall the very liberal population was least likely to express a pattern of hostility toward Jewish students. Very few moderate or conservative students expressed those negative views about Israel, but both groups were more likely to agree with anti-Jewish statements.
The 14% of Jewish students who agreed with the anti-Israel statements was similar to the number of students from other backgrounds who did.
The study was conducted during the fall semester last year. Researchers polled 3,989 undergraduate students at four-year colleges and universities in the U.S. through an online survey fielded by Generation Lab that included an oversample of 743 Jewish students.
The post Jews and other minorities face similar levels of campus hostility, Brandeis survey finds appeared first on The Forward.
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Rubio Says ‘Historic’ Israel-Lebanon Talks Should Outline Framework for Peace
Smoke rises after an Israeli strike, amid escalating hostilities between Israel and Hezbollah, as the US-Israeli conflict with Iran continues, in southern Lebanon, March 24, 2026. Photo: REUTERS/Stringer
US Secretary of State Marco Rubio hosted a rare meeting between Israeli and Lebanese envoys in Washington on Tuesday, saying he hoped the two countries would agree to a framework for a peace process, even as Israel pressed its war on Hezbollah.
The two countries went into their first direct negotiations since 1983 with conflicting agendas, with Israel ruling out discussion of a ceasefire and demanding Beirut disarm Hezbollah, an Iran-backed terrorist group based in Lebanon that seeks Israel’s destruction.
But the presence of Rubio, President Donald Trump’s top diplomat and national security adviser, signaled Washington’s desire to see progress.
CRITICAL JUNCTURE IN MIDDLE EAST CRISIS
The meeting comes at a critical juncture in the conflict in the Middle East, a week into a fragile ceasefire between the United States, Israel, and Iran.
Iran says Israel‘s campaign against Hezbollah in Lebanon must be included in any agreement to end the wider war, complicating talks mediated by Pakistan aimed at averting further economic fallout.
The conflict that began with US-Israeli strikes on Iran on Feb. 28 has led to a major oil supply disruption, piling pressure on Trump to find an off-ramp.
Rubio opened the meeting between Israel‘s ambassador to the US, Yechiel Leiter, and his Lebanese counterpart, Nada Hamadeh Moawad, saying he hoped the talks could begin a process to permanently end the conflict in Lebanon and prevent Hezbollah, which he called a “terrorist proxy of Iran,” from threatening Israel.
The meeting marked a rare encounter between representatives of governments that have remained technically in a state of war since the modern state of Israel was established in 1948.
“This is a process, not an event. This is more than just one day. This will take time, but we believe it is worth this endeavor, and it’s a historic gathering that we hope to build on. And the hope today is that we can outline the framework upon which a permanent, lasting peace can be developed,” Rubio said.
Rubio was hosting Tuesday’s talks amid questions over his lack of in-person participation in talks with Iran, with the Republican president sending Vice President JD Vance to Islamabad over the weekend to lead the US negotiations.
Rubio was with Trump in Florida watching a mixed martial arts event as Vance announced in Pakistan that talks with the Iranians had concluded with no breakthrough.
State Department Counselor Michael Needham, US ambassador to the United Nations Mike Waltz, and US ambassador to Lebanon Michel Issa, a personal friend of Trump, were also participating in the talks on Tuesday.
LEBANON SEEKS CEASEFIRE
Lebanese President Joseph Aoun said in a statement on X as the meeting started that he hoped it would “mark the beginning of ending the suffering of the Lebanese people in general, and the southerners in particular.”
The Lebanese government led by Aoun and Prime Minister Nawaf Salam has called for negotiations with Israel despite objections from Hezbollah, reflecting worsening tensions between the Shi’ite Muslim group and its opponents.
Hezbollah opened fire in support of Tehran on March 2, sparking an Israeli offensive that has killed more than 2,000 people and forced 1.2 million from their homes, according to Lebanese authorities. Most of those killed have been Hezbollah terrorists, according to Israeli tallies.
Lebanese officials have said Moawad only has authority to discuss a ceasefire in Tuesday’s meeting.
But Israeli government spokesperson Shosh Bedrosian said Israel would not discuss a ceasefire.
Israeli Foreign Minister Gideon Saar told reporters in Jerusalem ahead of the meeting that talks would focus on the disarmament of Hezbollah, which he said must take place before Israel and Lebanon could sign any peace agreement and normalise relations.
He said Hezbollah was a problem for Israel‘s security and Lebanon‘s sovereignty that needed to be addressed to move relations to a different phase. “We want to reach peace and normalization with the state of Lebanon,” he said.
The Lebanese state has been seeking to disarm Hezbollah peacefully since a war between the terrorist group and Israel in 2024. Efforts by Lebanon to disarm it by force risk igniting conflict in a country shattered by civil war from 1975 to 1990. Moves against Hezbollah by a Western-backed government in 2008 prompted a short civil war.
The current government banned Hezbollah’s military wing after it opened fire on Israel last month.