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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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Irish Jews report 143 antisemitic incidents in 6 months through a new reporting system
(JTA) — Jews in Ireland reported over 100 antisemitic incidents through a communal reporting system within six months after it launched, according to a new report.
The findings published early Monday by the Jewish Representative Council of Ireland constitute the first attempt to document antisemitic incidents in Ireland.
Irish Jews, a small community of about 2,200, reported 143 incidents between July 2025 and January 2026. These were dominated by verbal abuse, vandalism, threats, exclusion or discrimination and direct digital hate messages. Physical assault was less common, with only three instances reported.
All incidents were self-reported to the JRCI, which cannot independently investigate or adjudicate them. Ireland does not have an official state mechanism for recording antisemitic incidents, the group said. And while the police record hate crimes based on nationality, ethnicity or religion, they do not isolate crimes motivated by antisemitism.
The JRCI said that 30% of incidents were triggered by cues of Jewish identity or Israeli origin, such as a Jewish symbol, an accent or speaking Hebrew in public. Such patterns often crossed the boundaries of hate driven by nationality, ethnicity and religion.
“These dynamics cannot be adequately addressed through generalized anti-racism frameworks alone,” JRCI chair Maurice Cohen said in a statement. “Antisemitism presents distinct characteristics requiring targeted policy responses.”
Cohen called for “a dedicated, standalone national plan to combat antisemitism in Ireland.”
Of the reported incidents, 25 included “Holocaust distortion” or antisemitic conspiracy theories. These findings add to a Claims Conference survey in January, which said that 9% of Irish adults believed the Holocaust was a myth, while another 17% believed the number of Jews killed had been greatly exaggerated. Half of Irish adults did not know that 6 million Jews were killed in the Holocaust.
At the same time, a November 2025 survey by the European Commission surfaced broad recognition of antisemitism in Ireland. 41% of respondents said that antisemitism was a problem in the country and 47% said it had increased over the past five years.
At a ceremony for International Holocaust Remembrance Day in January, Ireland’s taoiseach (or prime minister) Micheál Martin said, “I am acutely conscious that our Jewish community here in Ireland is experiencing a growing level of antisemitism. I know that elements of our public discourse has coarsened.”
Martin has strenuously criticized Israel’s actions in Gaza, saying at the United Nations last year that Israel committed genocide and demonstrated “an abandonment of all norms, all international rules and law.” Catherine Connolly, a socialist politician who has faced backlash for saying Hamas is “part of the fabric of the Palestinian people,” was elected as Ireland’s president in October.
Ireland has historically supported the Palestinians, a stance often linked to the country’s own history of British imperial rule, and formally recognized a Palestinian state in 2024.
In Martin’s Holocaust commemoration speech, he also condemned the most recent event to inflame the Irish Jewish community. Late last year, a proposal to rename Herzog Park in Dublin — named for Chaim Herzog, the son of the first Irish chief rabbi who became Israel’s sixth president in 1983 — was decried by Irish Jews who said it would erase Irish Jewish history. The proposal was later tabled.
Martin, who also denounced the proposal when it was active, said the Jewish community “has every right to be deeply concerned and to express that concern.”
Gideon Taylor, president of the World Jewish Restitution Organization and an Irish Jew who grew up in Dublin, said the JRCI report showed a picture of antisemitic incidents that were separate from “a debate about the policies of Israel or a debate about the Palestinian state.”
“When you have discontinuation of service because somebody is heard speaking Hebrew, or has a Jewish-identifying symbol on them, that’s not about a political position on the spectrum towards Israel,” said Taylor. “That’s something that crosses into antisemitism.”
Ireland’s chief rabbi Yoni Wieder said the report reflected experiences he already heard from his congregants.
“The report does not claim that antisemitism has become a daily reality for all Jewish people in Ireland — it has not,” said Wieder. “What it does show is that antisemitism surfaces often enough, and in ordinary enough settings, that it cannot be dismissed as rare or confined to the margins of society. This means that for many, Jewish belonging in Ireland feels more fragile than it should.”
The post Irish Jews report 143 antisemitic incidents in 6 months through a new reporting system appeared first on The Forward.
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Yet again, Israel’s public shelters become sites of camaraderie amid steep danger
(JTA) — TEL AVIV — Spirits ran high inside a large public bomb shelter in the Israeli coastal city of Jaffa, with loud chatter, singing and greetings of “Happy Iran Holiday,” an incongruous soundtrack to the joint U.S.-Israeli strike on Iran and the hundreds of missiles that followed.
The room itself looked much cheerier than most shelters, with a ball pit and bright Gymboree mattresses left over from its other job in peacetime, when it doubles as a kindergarten.
A day earlier, the shelter became the accidental venue for a bar mitzvah celebration, when worshipers from the synagogue across the road took refuge there.
One particularly raucous group was made up mostly of American-Israelis from the neighborhood. One of them, Steph Graber, said she was in a good mood despite being exhausted from middle-of-the-night runs to the shelter.
“I’m not sure why, maybe it’s the adrenaline of war or something,” she said on Sunday morning. “But also it’s amazing to see the U.S. and Israel as allies working together to reduce the threat from Iran.”
Graber said she had been sheltering elsewhere but had “FOMO” about not being with her friends, so she switched over in the brief lull between sirens.
Martine Berkowitz, a friend of Graber’s, also said the community around her was what made the disruption feel manageable. Sirens kept interrupting even basic tasks, she said, including her attempt to take a shower, which she tried five times.
“My friends live on my corner, so I’m doing great. We’re all together all the time,” she said. During the last Iran flare-up in June, she didn’t have that kind of built-in circle nearby, she said. “Being alone then was really rough.”
The mood wasn’t confined to Jaffa. Across the country, similar scenes played out in shelters and spread on social media, including one from Nachlaot in Jerusalem of people singing “For the Jews There was Light and Joy,” a Purim song marking the story’s turn after Haman’s plot to kill the Jews was thwarted. The parallel to the current moment, as the Jews once again sought to topple a Persian rule who had called for their death, was not lost on anyone.
In a sprawling underground parking lot turned shelter at Dizengoff Center in central Tel Aviv, Shabbat prayers gave way to dancing and songs of “Don’t Be Afraid, Oh Israel” and “Am Yisrael Chai.” Saul Sadka, who was there, posted a video of the revelers, captioning it “joy and stoicism.”
Sadka later said he was struck by the “sense of solidarity,” and noted that it was Shabbat Zachor, when Jews read the passage about Amalek, a nemesis that they are commanded never to forget. “People seem willing to suffer for a while if it means the defeat of the IRGC,” he said.
Another bomb shelter in Tel Aviv struck a less pious tone, turning into a makeshift night club with red lights, a DJ and people dancing.
In one video, one of hundreds of comedic shelter clips circulating online, a comedian quipped, “The nation of Israel lives” — but only as long as the shelter “has wifi and the iPads have battery.”
Natalie Silverlieb was in the mamak, the communal reinforced safe room on her building’s floor. She said the logistics of repeated alerts had become harder since she became a mother.
“Doing this with a baby is crazy,” she said. The room was packed, including other babies and dogs, and she and her partner tried to follow a system that would get their baby back to sleep quickly.
“I’m so, so, so exhausted,” she said. “When I was doing this on my own the last time, I could at least come back to my apartment and just lay on the couch. But now there’s no laying on the couch. It’s go, go, go.”
For Silverlieb, the uncertainty of the past few weeks hadn’t disappeared so much as changed shape. “The waiting for it to end is more stressful than the waiting for it to begin,” she said. “I just hope it ends quickly. It’s a lot, period.”
In a nearby grocery store, another siren, the 30th or so in as many hours, sent shoppers scrambling. In the residential building next door, the shelter downstairs was decrepit and doorless. Children played limbo with a strip of red cloth. One woman began pitching HAAT, a new, mostly Arab-run delivery service she said was giving Wolt a run for its money. A few people pulled out their phones to download the app, trading jokes about whether it would deliver to shelters, and during sirens. Because it is Ramadan, Muslims in Israel are doubly on edge, from fasting on top of the missiles.
Sasha, who lives in the building, said she was “half happy” the waiting was over. The repeated dashes up and down the stairs, she joked, were at least getting her to her daily goal of 10,000 steps. Still, she said, it “won’t help us if the [Iranian] regime doesn’t fall.”
A Ukrainian who grew up under Soviet rule, taught her what it meant to live without freedom, she said. “We want to see the Iranian people free and a better Middle East for everyone.”
Evyatar said he doubted the regime would fall “unless the Iranian citizens themselves finish the job.”
Ma’or, another neighbor, said he would “happily sit in my bomb shelter if it meant giving my Iranian friends, both in Iran and out, a chance at a normal life.” He pointed to a friend in Tehran who works as a tattoo artist, an illegal trade under the regime.
“I mean, he’s not even free to give someone a tattoo without going underground,” he said. “I’m baffled by the people cheering [on] the IRGC. People who say this war is illegal are out of their goddamn minds.”
Evyatar said he began Saturday uneasy, but grew calmer as the hours passed and he gauged the pattern of the strikes. The alerts came far more often than the 12-day war, but the blasts felt less intense. “At the beginning I felt scared, like it was June all over again.” Over time, he said, he has learned to tell the difference between the sounds of interceptions, shrapnel and direct impacts.
As he spoke, a loud boom hit outside, rattling the shelter and stopping the conversation. “That, for example, was a June sound,” he said.
It turned out to be shrapnel coming down not far away. The impact was part of a wider series of strikes across central Israel, including one that turned lethal in Beit Shemesh, west of Jerusalem, when a public bomb shelter was hit. Nine people were killed including multiple from the same family. Dozens more were wounded, and others still were unaccounted for.
In Beit Shemesh, the strike changed the atmosphere in a city that had so far heard only occasional sirens, during both this round and the last one.
Netanel Alkoby, a Beit Shemesh resident who spent 12 years in the reserves with the Home Front Command, said he has always taken alerts seriously, but that over time a degree of complacency still set in. The strike, he said, “changed our perspective a lot,” forcing him to be more careful, more on guard, and to treat every warning “with the utmost seriousness.”
In the underground shelter at Wolfson Medical Center in Holon, a sign overhead read “the safest shelter in existence.” Patients hobbled in, some with casts and crutches. With doctors also sheltering there, patients used the moment to buttonhole them with questions.
One staffer watched a line of women form to speak to a physician. “Poor thing, he can’t even enjoy the siren in peace,” she said.
Back in the central Jaffa shelter, a couple in black leather and dark glasses stood apart from the banter around them.
“Any fear and terror that Israeli citizens are feeling right now is a direct result of this violent racist Islamophobic power hungry greedy fascist government,” said the woman, who declined to give her name, referring to the Netanyahu-led coalition.
Asked whether she thought attacking Iran was a bad idea, she said: “I think it’s a bad idea to attack anyone in 2026. We teach toddlers not to fight and here we have fully grown men doing this, dooming all of us.”
“It’s time we take the power from aging white men,” she said.
Nearby, Martine Berkowitz agreed — in part. “Yep, they are behaving like toddlers. And they are aging white men. Who are fighting evil brown men. If it brings freedom to Iran then it was worth it. But if it doesn’t, then it was all for nothing.”
The post Yet again, Israel’s public shelters become sites of camaraderie amid steep danger appeared first on The Forward.
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Netanyahu: ‘Our Forces Are Striking the Heart of Tehran With Increasing Strength’
Israeli Prime Minister Benjamin Netanyahu participates in the state memorial ceremony for the fallen of the Iron Swords War on Mount Herzl, in Jerusalem, Oct. 16, 2025. Photo: Alex Kolomoisky/Pool via REUTERS
i24 News – Israeli Prime Minister Benjamin Netanyahu stated that Israeli forces had “eliminated the dictator Ali Khamenei” along with dozens of senior officials of Iran’s regime during a statement delivered from the roof of the Kirya, Israel’s defense headquarters.
“Yesterday, we eliminated the dictator Khamenei. Along with him, dozens of senior officials from the oppressive regime were eliminated,” Netanyahu said after a meeting with the Minister of Defense, the Chief of Staff, and the Director of Mossad. He added that he had issued instructions to continue the offensive.
According to Netanyahu, Israeli forces are “now striking at the heart of Tehran with increasing intensity,” a campaign he said will “increase further in the days to come.”
The Prime Minister also acknowledged the toll of the conflict on Israel, calling recent days “painful” and offering condolences to the families of victims in Tel Aviv and Beit Shemesh, while wishing a speedy recovery to those injured.
Netanyahu emphasized that the operation mobilizes “the full power of the Israel Defense Forces, like never before,” in order to “guarantee our existence and our future.” He also highlighted US support, noting “the assistance of my friend, the President of the United States, Donald Trump, and of the American military.”
“This combination of forces allows us to do what I have hoped to accomplish for 40 years: strike the terrorist regime right in the face,” Netanyahu concluded. “I promised it — and we will keep our word.”