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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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Israel’s opposition has the numbers to defeat Netanyahu. Will it let him survive anyway?
According to exit polls, Israel’s opposition appears to have achieved something remarkable: a parliamentary majority of up to 70 seats, including the Arab parties, over Benjamin Netanyahu and his allies. In almost any other parliamentary democracy, such a result would be understood as a decisive victory for the forces seeking a change of government. Yet Israel may be heading toward the extraordinary spectacle of an opposition that wins a commanding majority and nevertheless allows the incumbent to remain in power.
The reason is a political taboo: several opposition leaders have promised not to form a government dependent on the support of Arab parties, even though virtually every plausible path to replacing Netanyahu requires precisely that.
And if the exit polls are right, those Arab parties have almost doubled their Knesset representation, to perhaps 18 seats in the 120-seat Knesset. This happened because of a huge increase in voter turnout among the 20 percent of Israelis who are Arabs.
In past elections, almost half the Arabs stayed home on election day, compared to participation levels of around 80 percent among Jews. The surge appears to have been driven by despair over the perceived hostility of the Netanyahu government, and anger over ultranationalist National Security Minister Itamar Ben-Gvir, who has displayed inaction and indifference about the lawlessness that bedevils the Arab sector.
The two Arab parties – Ra’am and the United Arab List – have already offered to back Gadi Eisenkot, the former military chief who heads the largest opposition party, Yashar.
This landscape presents the wider opposition with a real dilemma. Its leaders may end up breaking their most important promise to voters — to remove Netanyahu from office — in order to honor a secondary promise not to form a governing coalition with Arab parties and depend on the safety net they offer. That promise should have been no more than a white lie to reassure wavering Jewish voters who in the past supported the right. Sticking to it would be a spectacular case of snatching defeat from the jaws of victory.
In his speech to supporters after polls closed Tuesday, Eisenkot promised to use the results to set up a government. “The Israeli public voted to end Netanyahu’s rule as the prime minister of Israel,” he said. “It’s my personal duty to do everything to bring about the will of the people.”
If Eisenkot and the rest of the opposition now show resolve, a minority government supported from outside by Arab lawmakers is one possibility. A coalition that includes at least Ra’am, the pragmatic Islamist party that participated in Israel’s 2021 governing coalition, is another. Defections from the right could also help assemble a government. These also should be considered, as long as those joining it are not given the power to block essential reforms or perpetuate the policies that voters sought to reject.
None of the options are clean and simple. But the notion that Arab parliamentary support renders a government illegitimate is neither a democratic principle nor a reflection of Israel’s political history.
Indeed, a look at that history reveals something that Netanyahu’s long dominance has helped obscure. Since the political upheaval of 1977, Likud victories have generally depended on ultra-Orthodox support, while victories by the non-Likud camp have repeatedly depended on Arab votes.
In 1984, Shimon Peres managed to force a parliamentary tie with the help of six seats held by Arab parties. In 1992, Yitzhak Rabin’s victory yielded a majority of 61 seats only when five Arab lawmakers were counted. In 1999, Ehud Barak won a landslide in the direct election for prime minister, but his reliable parliamentary bloc numbered only 60 seats, including 10 Arab lawmakers. The addition of right wing parties enabled him to govern.
The pattern continued in 2006, when Kadima’s victory was widely perceived as decisive, even though its assured parliamentary bloc numbered just 60 seats without additional Arab support. And in 2021, Yair Lapid’s success in assembling a government that ended Netanyahu’s 12 consecutive years in power depended on a parliamentary alignment of 61 lawmakers opposed to Netanyahu, including 10 Arab representatives.
With the notable exception of Ra’am in 2021, Arab parties generally did not become formal coalition partners. Peres formed a national unity government with Likud – and Rabin, his majority secured via the Arab parties, formally brought in the religious party Shas. In all these cases the Arabs’ parliamentary support for the opposition helped prevent Likud from forming a government and made alternative coalitions possible. In some cases, Arab lawmakers then supported the government from outside, while politicians from the traditional right-wing camp eventually crossed political lines to join the governing arrangement.
Against that historical background, the 2026 result should be understood as an extraordinary opportunity for Israel’s liberal and anti-Netanyahu forces. The central question is whether their leaders will recognize it or miss the opportunity.
Netanyahu remains the prime minister under whose watch the catastrophe of Oct. 7 occurred. His government has resisted the establishment of a state commission of inquiry into the failures surrounding the attack. His coalition has advanced measures widely criticized as threats to democratic institutions, while presiding over an increasingly polarized society.
Another term for Netanyahu and his present allies could deepen Israel’s institutional deterioration, social divisions and strategic vulnerability. For critics who believe the country is already approaching a dangerous democratic and societal crossroads, the stakes are difficult to overstate.
There is also a striking inconsistency in the argument that relying on Arab support is somehow beyond the bounds of legitimate politics.
Netanyahu himself explored the possibility of forming a government with the support of Mansour Abbas, the leader of Ra’am, in 2021. That possibility collapsed largely because Bezalel Smotrich, now one of Netanyahu’s most prominent far-right partners, refused to accept it.
The time has come for Israel to show some appreciation for its Arab citizens, who constitute roughly one-fifth of Israel’s population. They work, study, pay taxes and participate in the country’s civic and economic life. They vote in national elections and elect representatives to the Knesset. There is no coherent democratic justification for treating those representatives’ mandates as inherently less legitimate than those of Jewish lawmakers.
To be sure, Arab political parties hold positions, particularly on the Palestinian question, that many Jewish Israelis find deeply objectionable. Some of those disagreements are profound, and coalition negotiations involving Arab parties inevitably raise difficult questions about national identity, security and the Israeli-Palestinian conflict.
But ultra-Orthodox parties also hold positions that many secular Israelis regard as fundamentally incompatible with their vision of the country, including on religious authority, military service and civil liberties. Far-right parties in Netanyahu’s coalition have promoted policies that critics see as far more damaging to democratic norms than anything the Arabs might do.
There will undoubtedly be pressure for a national unity government, possibly from Washington. President Donald Trump, who endorsed Netanyahu, seems likely to pressure Eisenkot to agree. The machinations might include restarting the war with Iran. Eisenkot should resist it all.
Israel’s declaration of independence promised equality. Israel’s opposition has a golden opportunity to keep that promise.
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A watch party without Netanyahu? Supporters tried to project cheer
(JTA) — JERUSALEM — Forty-five minutes after Israeli channels released their first exit polls, a silence had washed over the Likud election watch party held at the International Convention Center in Jerusalem.
Supporters had waited in anticipation for the exit polls to appear on the screen. When Channel 14 — which had a broadcast desk stationed in the corner of the room — first showed its poll, a cheer circulated through those in attendance. But as everyone looked down at their phones to track the results from the other channels, the mood became increasingly subdued.
Supporters hoping for a strong Netanyahu victory were disappointed by polls showing that his Likud party did not have enough support to form a governing coalition.
They had hoped to celebrate the moment with Netanyahu, who, in the end, did not show up.
The initial exit polls, released at 10 p.m. as polling stations closed, showed Likud as the largest party. However, neither it nor its committed coalition partners had gained enough seats for a parliamentary majority that would allow it to form the next government. Channel 12 had Prime Minister Benjamin Netanyahu’s bloc, which at its height had 68 seats in the outgoing Knesset, dropping to 50, with the opposition parties at 53 across the network projections.
The Central Elections Committee hopes to finish counting the votes by Thursday. By law, the official results have to be published by Nov. 4.
The historic turnout in the election, billed by many as the most consequential in Israel’s history, stood in stark contrast to the empty convention center hall. It appeared that only the most dedicated of Bibi fans had decided to make the trip to the watch party. Three hardcore supporters held up a blue and white Likud flag while chanting “Malach Bibi,” meaning “King Bibi,” with a crowd of journalists pushing past each other to get footage.
Every two minutes, the Likud jingle echoed through the hall on a loop, and a string of AI-generated Likud election videos played on the screen. The lectern sat empty, and Netanyahu had not issued a statement in the wake of the first results. Netanyahu, along with Likud MKs, had been expected to address supporters in the hall had there been a clearer mandate; instead, journalists gathered, snacking on refreshments while waiting for more Likud supporters to show up.
Yossi Levi, 71, a pensioner from Eilat, made the long drive to Jerusalem to show his support. He said that for his entire tenure as prime minister, Netanyahu has had to fight the 120 members of the Knesset for his survival, and that he “thankfully” had so far always come out on top.
Levi recalled his time working on the Likud security team when Netanyahu first began his career and paused the interview to shake hands with Netanyahu’s head of security before returning to his story. Whether or not Netanyahu was able to form a coalition, he said, his support would remain unwavering.
That appeared to describe the crowd on Tuesday night: those who had stood by Netanyahu as he ascended to the heights of Israeli electoral power, and who were standing by him now, as his bloc appeared to shed 18 seats in the Knesset.
Boaz, who lives in the city center of Jerusalem, described the mood as not exactly disappointment “but something in the middle,” as the results did not yet indicate a clear winner or loser and adding that it was now time for coalition politics to begin.
Holding a blue-and-white Likud flag and milling about the lobby alone, he did not project confidence but insisted that he would stay at the event in case any of the party’s parliamentary members decided to show up.
With few audience members in attendance, the event center gave the appearance of something of a crashed party. By 11 p.m. Jerusalem time, the hall had begun to empty, with both supporters and those there to cover the event deciding to leave the scene.
This article originally appeared on JTA.org.
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Jewish treasures stolen by Nazis 88 years ago come home, thanks to an Arizona synagogue
(JTA) — What could one purchase with boxes of Crisco, bags of coffee and cartons of cigarettes in chaotic postwar Germany?
For Moishe Saksenhaus, a young Holocaust survivor from Belarus, the answer was: two Jewish ritual textiles, hundreds of years old.
The seller said he’d stolen them himself from a burning Berlin synagogue on Nov. 9, 1938 — the November Pogrom, commonly called Kristallnacht.
Moishe brought those two items — a Torah wimple, or sash, and a parochet, or Torah ark curtain — with him to America, taking them out of their suitcase only on special occasions. After Moishe’s death in 1993, his family donated them to his synagogue, Temple Chai in Phoenix, Arizona. They remained on display there until the building was deconsecrated in 2026. The congregation moved to a new location in nearby Scottsdale this spring.
Last week, nearly 88 years after Kristallnacht the two items made their way back to Berlin.
In a ceremony at the site of the New Synagogue Berlin Foundation-Centrum Judaicum museum and archive, on Oranienburger Strasse, Associate Rabbi Bonnie Koppell of Temple Chai handed them over to Berlin Jewish Community president Gideon Joffe.
“There were people who felt individually attached to the items” in Phoenix, Koppell told the Jewish Telegraphic Agency in a phone interview before her trip. “But ultimately, I think everyone realized that they belonged in their home. If the people from whom they were stolen wanted them back, that was where they belong.”
The handover took place Oct. 22 in the presence of Joffe, Rabbi Gesa Ederberg, historian Rabbi Andreas Nachama, members of the Berlin community and 29 visitors from Arizona.
“It’s been a very moving and touching journey, for both our guests from the United States and for these historical items,” said Nickolai Todorov, a Berlin Jew who accompanied the U.S. visitors as a tour guide. “It was just a special thing to be an eyewitness to.”
Rabbi Bonnie Koppell, left, and Sandy Koppell examine the Torah curtain (parochet) and Torah wimple during the handover ceremony at the New Synagogue Berlin–Centrum Judaicum, Oct. 22, 2026. (Nicolai Froundjian)
The large parochet is embroidered with the text of the Kiddush, the Jewish blessing over wine, in versions for the Sabbath and holidays. Along the lower edge of the text is what might be the signature of the artist, in Hebrew: “This handiwork of mine is not to bring me honor, rather to bring merit for the multitudes in accord [with the biblical verse] ‘And Yitzchak went out to pray at the field’ — Yitzchak Itzik ben C’harad Yehuda Leib z“l [of blessed memory] from Rivnitz,” a town in Moldova whose small Jewish community dated back to at least 1800.
The highly decorated wimple, which would have been used to bind a Torah scroll, bears a blessing for a child named Yitzchak “Itzik” ben Kavod Ha-rav Gistori, likely embroidered in honor of his brit milah, or ritual circumcision.
A spokesperson for the Berlin Jewish community, an umbrella for several congregations of various denominations, told JTA in an email that its experts had been unable to confirm which pre-World War II synagogue the Torah curtain came from, but that it would be added to the Centrum Judaicum collection. There are plans to display the wimple at the community center on the site of the former Fasanenstrasse synagogue.
Sol Saksenhaus, 72, a retired special-ed teacher, is one of those Arizona congregants who felt sad to let the objects go. It was his father who had bought them, protected and carried them across the ocean to his new home in America. Sol and his brother had grown up with these objects, which had taken on an aura of sacredness.
But they are “being given back as a sign of love from our community, to light them up again,” he told JTA in a telephone interview from Phoenix. “I can live with that, and I know my parents in heaven can live with that, too.”
Sol’s parents, Moishe and Rosa Saksenhaus, had escaped the Warsaw Ghetto through the sewers, and joined with partisans to commit acts of sabotage against the Germans. The Soviets eventually deported them to Siberia, where their first child died. After the war, Moishe and Rosa made their way back west, following American army lines and ending up in a Displaced Persons camp in the town of Feldafing, Germany.
Moishe, street-smart and multilingual, got a job translating for the U.S. military in Traunstein, Sol related. His father told him he became involved with black market activities, such as collecting British Army bicycles and having them sent to Palestine.
“My dad may have had a little bit of a reputation as one of the go-to guys, that if you wanted something, my dad knew how to get it,” Sol said.
Which may be why this particular German man approached him one day.
“He said he was a medical doctor. He kept approaching my dad with pictures” of the Jewish objects, Sol recounted. His father recalled the man’s name as “Ahgar.” He’d complained about conditions under American occupation: “’We don’t get anything; we’re on limited rations,’” the man told Sol’s father. “My dad said he was arrogant, and that he wanted the stuff he used to have from before.”
“He threatened my dad: He says, ‘I was part of the patrol that went into the temple’” on Fasanenstrasse in Berlin. He claimed to have taken the two items during the raid, and threatened to destroy them if Moishe did not procure Crisco, coffee, flour, cigarettes and cigars.
“My dad pretty much told him to ‘get the f–k away. I can’t look at you.’ But the guy was persistent. And the trade happened.”
Moishe Saksenhaus brought the objects to the U.S. when he and Rosa emigrated. “He cherished them, but he didn’t know what he was going to do with them,” said Sol. On rare occasions his father would show them to the family. “When that thing came out, it was like opening the holy ark… I kind of like froze, and just watched the emotions” on the family’s faces.
Sol’s father died in late 1993. There was a rise in Holocaust denial at the same time, Sol recalled; Deborah Lipstadt’s book, “Denying the Holocaust: The Growing Assault on Truth and Memory,” was published that June. It was also the year that Steven Spielberg’s Oscar-winning film “Schindler’s List” came out, sparking new interest in the Holocaust and its legacy. His mother and aunt decided to donate the tapestry and wimple to Temple Chai, to help with Holocaust education. Before handing the tapestry over to Rabbi William Berk, then the temple’s spiritual leader, Rosa Saksenhaus tore the swastika off an old tag on the tapestry. “This is not going into a temple like this,” she told her son.
The centuries-old Jewish ritual textiles, stolen during Kristallnacht in 1938 and traded after the war to a survivor for coffee and tobacco, are returned to the Berlin Jewish community during a ceremony at the New Synagogue Berlin–Centrum Judaicum, Oct. 22, 2026. (Nicolai Freundjian)
Sol recalled that Berk sent the items to an expert at the University of California in Los Angeles, who determined they were from the 16th century. Berk, who moved to Israel with his family in 2007 after more than two decades with the congregation, could not be reached for comment.
And so the tapestry remained hanging on the synagogue’s north wall. Rosa died in 1999. In 2006, Bonnie Koppell was installed as associate rabbi. In 2022, Rabbi Emily Segal took on the role of senior rabbi.
Two years ago, Sol brought a friend to see the wimple and the tapestry.
“I had seen these objects in our sanctuary for 30 years, knowing only that they had been ‘rescued’ during Kristallnacht,” recalled Joan Neer, assistant to Koppell, who heard Sol’s story for the first time that day. “In reality they were brutally taken,” she said.
The encounter “ignited my curiosity and set me on a journey to uncover their story,” Neer told JTA in an email. The more she learned, the more she became convinced: “It would be great if we could return them to the Jewish community in Berlin,” she wrote to Koppell and synagogue president Debbie Berkowitz.
“What began as a simple conversation in my office has become a journey of discovery, connection, and restoration,” she said.
Once the Berlin community said yes, the task of packing and transporting the objects began. The large tapestry was wrapped in artisanal paper and shipped.
“We had an AirTag on it, so we watched it sitting in the Cologne airport,” said Koppell. “And then it got moved to the customs building.”
“Then we got word that they wanted €5,000 [$5,567] in [customs] tax. And that if we didn’t pay it, they were sending it back in five days.”
The German Jewish community stepped in and used its tax-exempt status to get the package released, she said, adding that she carried the wimple in her hand luggage.
“We have come to remember, to learn and to return something that has traveled a very long road,” she told the Berlin Jewish community on Oct. 22. “This time, they are going home.”
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