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A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs.
(J. The Jewish News of Northern California via JTA) — Tucked in the far corner of a large, brightly-lit exhibition hall on the ground floor of the Contemporary Jewish Museum in San Francisco, there is a delicate-looking piece of art with a strong political message.
At first glance, it appears to be three circular vases with flowers in them. The ceramic vases sit on shelves attached to the wall, and colorful collages hang above them. On closer inspection, visitors will notice that the flowers are made out of paper and that affixed to each vase is an image of the Palestinian flag printed on foam board.
A nearby label written by the curators of the exhibit, titled “Tikkun: For the Cosmos, the Community, and Ourselves,” explains that the piece was inspired by a conversation the artist, Tosha Stimage of Berkeley, had with a Palestinian man. He told Stimage about the plants that are native to Palestine — “a place which he can no longer access due to the ongoing conflict in the region,” the curators write.
The label also includes a note about the flag: “Some may find its presence at The CJM troubling or confusing, while others may find it appropriate and forthright. Stimage recognizes the potential for these divergent responses and hopes to use them as a means of generating dialogue.”
On a Sunday afternoon in October, Maury Ostroff read the label and walked away without inspecting the artwork.
Visitors to the “Tikkun” exhibit are encouraged to share their responses to the artwork via comment cards. (Andrew Esensten)
Asked how the presence of the flag made him feel, Ostroff, who is Jewish and lives in Muir Beach, in Marin County, replied, “Unhappy.”
Why?
“It’s not offensive to me in the same way that a swastika is. My skin is a little bit thicker than that. But I wish it weren’t here.”
He added, “What’s so Jewish about this? What’s so ‘tikkun olam’ about all of this?”
For the “Tikkun” exhibit, which opened Feb. 17 and runs through Jan. 8, the CJM invited both Jewish and non-Jewish Bay Area artists to contribute new works on the theme of repair, however they chose to interpret it. “No one is listening to us,” the piece by Stimage, who is not Jewish, is the first work of art featuring the Palestinian flag to be shown at CJM in recent memory; the museum could not say when or if the flag has been displayed on its walls before.
The piece prompted several internal conversations among CJM staff when it was first submitted and, since it has been on display, has generated a variety of responses from museumgoers who have left comments in a box at the entrance to the exhibit. Intentionally or not, Stimage has raised numerous questions with the artwork, including: Does a work of art that is sympathetic to the Palestinian struggle for statehood belong in a Jewish museum? And what is the role of a contemporary Jewish museum, anyway?
“To truly be a contemporary art museum, meaning embedded in the contemporary issues of our day, our job is to provide a platform for dialogue and to share a diversity of perspectives on our walls,” said Chad Coerver, CJM’s executive director since September 2021. “If any institution [like ours] took the path of withholding artwork that troubled our staff, our board or our community, it would be very difficult to mount exhibitions.”
CJM is a member of the Council of American Jewish Museums, a network of 76 museums across the country. CAJM does not have guidelines about the kind of art its member museums can and cannot display, according to Executive Director Melissa Yaverbaum.
J. reached out to several CAJM member museums in New York, Los Angeles and other places by email to ask if they had ever shown artwork with Palestinian iconography or works by Palestinian artists. The museums declined to answer or did not respond.
In recent years, two Jewish museums have been embroiled in controversy over issues relating to the Israeli-Palestinian conflict. The Spertus Institute for Jewish Learning and Leadership in Chicago staged an exhibit in 2008 on Israeli and Palestinian concepts of homeland that included maps and portraits of Palestinians. Following outcry from members of the local Jewish community who felt the exhibit presented Israel in a negative light, the museum decided to close the exhibit after only a few weeks. And in 2019, the director of the Jewish Museum Berlin resigned after the museum tweeted a link to a pro-BDS article in a German newspaper. (The museum previously came under fire for welcoming anti-Zionist scholar Judith Butler and representatives of Iran.)
In a joint interview with J., two CJM staffers who worked on “Tikkun” — co-curator Qianjin Montoya, who is not Jewish, and a Jewish senior curator who served in an advisory role, Heidi Rabben — shared the story of how Stimage’s piece came to be in the exhibit. (Montoya’s co-curator for the exhibit, Arianne Gelardin, no longer works at the museum.)
Since 2009, CJM has invited local artists from different backgrounds to create new work as part of the museum’s annual Dorothy Saxe Invitational. The idea for “Tikkun” was hatched before the pandemic put the planning process on hold. Once the CJM and Saxe — a local philanthropist and art collector — agreed on the theme, the co-curators invited artists “already engaged in healing through their relationship to community or in their practice of daily life,” Gelardin told J. last February.
The 30 artists who accepted the museum’s invitation were given only four months to conceive of and submit new works. That was likely the shortest timeline in the history of the invitational, which has been held 11 previous times, according to the museum. Each artist received a packet of materials compiled by CJM staff, with input from the Shalom Hartman Institute, a non-degree granting Jewish education center, to guide their thinking on “tikkun.”
Stimage was invited to participate because she is “very active” in the Bay Area and because “her work reflects ideas of community and connection,” Montoya said.
The curators said Stimage’s inclusion of the Palestinian flag in her submitted piece came as a surprise and prompted challenging conversations. However, they noted that they found the content of some of the other artists’ work surprising, too, and that it’s not unusual for contemporary artists to push the envelope in their work.
“I wouldn’t say we expected to receive a piece about the Israeli-Palestinian conflict, but we weren’t steering anyone away from that, either,” Rabben told J., adding that the submission guidelines did not place any topic off limits. “That’s a commitment from the museum to authentically represent the creative spirit of the artists that we’re working with,” she said.
Still, the curators said they engaged in a dialogue with Stimage in order to better understand each aspect of her piece and her overall intentions. Through those conversations, the curators learned that Stimage wanted to explore a moment of “rupture,” and that through her piece she hoped to communicate “that before healing or repair might happen, you have to first acknowledge that rupture,” Rabben said.
The Contemporary Jewish Museum in San Francisco is showing “Tikkun,” an exhibit of works by Jewish and non-Jewish artists on the theme of repair. (Andrew Esensten)
Coerver, who was involved in some of the conversations, stressed that “careful consideration” was given to including the piece in the exhibit. “We felt an artwork addressing the plight of the Palestinians was appropriate in an exhibition on healing and repair,” he said. (No work submitted as part of the Dorothy Saxe Invitational has ever been outright rejected, the museum said.)
Stimage did not respond to interview requests from J. According to a CV on her website, she was born in Jackson, Mississippi, and earned an MFA from California College of the Arts in 2016. She is a past fellow at the Yerba Buena Center for the Arts in San Francisco and was an artist-in-residence at Facebook in 2018. She also owns a floral gift shop in Oakland called Saint Flora.
Her work often touches on Black identity; she created a piece honoring Sandra Bland, an African-American woman whose 2015 arrest and death in a Texas jail cell sparked protests, and contributed to a 2019 San Francisco Art Institute exhibit on the Black Panther Party.
“I have a responsibility to create things that will, to the best of my present knowledge, do more good than harm, heal, inspire and uplift other humans,” she told the San Francisco Bay View National Black Newspaper in 2015.
Stimage’s precise views on Israel are unknown. CJM referred J. to her artist statement for “No one is listening to us,” which reads: “Olive, sage, and sumac are flowering plants native to the Mediterranean (including regions of Gaza and the West Bank) that have a direct relationship to contested ancestral land and affect the livelihood of so many Palestinian farmers and families caught in the conflict. They are positioned in the space of The Contemporary Jewish Museum as a metaphor for the ongoing conflict over land rights and the desperate need for restoration and healing of an age-old wound.”
The curators told J. that during their conversations with Stimage about her piece, they asked her why including images of the Palestinian flag was important to her but did not request that she remove them.
“We determined that none of [the piece’s] components in and of themselves signified something problematic or concerning,” Rabben said. “Of course, we had the awareness that the symbol [of the flag] will be read in a variety of ways by a variety of people.”
(Rabben pointed out that the exhibit includes other works with national symbols rendered in provocative ways, such as a black-and-white photograph of an American flag that was torn apart and partially reassembled by Mexican-American artist Jose Arias.)
The Palestinian flag — which contains the Pan-Arab colors of black, white, green and red — was adopted by the Palestine Liberation Organization in 1964. Since then, it has been the primary symbol of Palestinian nationalism.
For decades, the PLO was considered an enemy organization by Israel, and anything associated with it “had no place in Israeli public life,” said Eran Kaplan, an Israeli-born professor of Israel studies at San Francisco State University. Israel never went so far as to ban the flag. However, during the First Intifada, which lasted from 1987 to 1993, Israeli soldiers sometimes followed orders to confiscate the flag from protesters in the West Bank and Gaza.
With the signing of the Oslo Accord in 1993, Israel and the PLO recognized each other as negotiating partners. Yet the Palestinian flag remains a contentious symbol in Israel today. Kaplan noted that it recently served as a flashpoint during the funeral procession of Shireen Abu Akleh, the Palestinian American broadcaster who was killed in the West Bank in May. (The IDF conducted a review and admitted that the Israeli soldier who shot her had most likely misidentified her as an armed militant.) After warning Abu Akleh’s family not to display the flag, Israeli police attacked mourners in East Jerusalem, ripping flags out of their hands and off of the vehicle carrying her casket.
Today, the flag holds different meanings for Israelis and American Jews from different generations and political persuasions.
“There are large segments in Israeli society who view any form of Palestinian national identity as a threat to the existence of Israel,” Kaplan said. “There are others who view the PLO as legitimate partners in any form of negotiations [over the creation of a Palestinian state], but there’s an absolute split over those questions.”
Given the sensitive nature of Stimage’s work and others in the exhibit, the curators decided to solicit feedback from visitors via comment cards available at the entrance to the hall. Rabben said the museum has received a number of comments specifically about “No one is listening to us,” most of which were positive. “The majority of those comments were ‘Thank you for offering space for this topic at the museum,’” she said.
Last month, a security guard sitting in the “Tikkun” exhibition hall told a reporter that he had not witnessed any expressions of outrage or protest through the first nine months of the exhibit. “When we opened we were afraid of negative reactions, but they’re not stressed about it,” he said of visitors. “We have shown worse things here.” The guard, who has worked at the museum since it opened in 2008, mentioned a 2010 exhibit, “Our Struggle: Responding to Mein Kampf,” which included a copy of Hitler’s autobiography. “Some people were cussing us out” for displaying the book, he recalled.
Meanwhile, on the same floor as “Tikkun,” there is another, smaller exhibit containing potentially offensive art. A sign outside of the room warns visitors that inside is a Hitler marionette created by the parents of puppeteer Frank Oz. “Our intention in displaying this object is to keep the memory of the Holocaust alive through the objects and firsthand stories of those who experienced its persecution, and to encourage conversation and education about the ongoing horrors of antisemitism and authoritarianism today,” the sign says.
Coerver, CJM’s executive director, said he was proud that the museum’s three current exhibits — “Tikkun,” “Oz is for Oznowicz: A Puppet Family’s History” and “Gillian Laub: Family Matters,” which includes photographs that Laub took of her Trump-supporting relatives — are raising “challenging questions” and providing opportunities for both visitors and museum staff to “expand our horizons.”
“We’ve been wading into some issues that I think are a little thicker than maybe we’ve been confronting in the past,” he said, “and I hope that continues.”
A version of this piece originally ran in J. The Jewish News of Northern California, and is reprinted with permission.
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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
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Cornell Graduate Student Union Blasts Israel, Backs BDS While Committing to ‘Palestinian Liberation Struggle’
Cornell University students walk on campus, November 2023. Photo: USA Today Network via Reuters Connect
A graduate workers’ union at Cornell University has approved a resolution to adopt a statement titled “International Solidarity With the Palestinian Liberation Struggle” which espouses invective against Israel and calls for participation in the boycott, divestment, and sanctions (BDS) movement against the Jewish state.
“Cornell is implicated in the Israeli genocide of Palestinians through research, recruitment, and financial ties with the weapons industry, and endowment investments,” says the resolution, passed by Cornell Graduate Students United, a division of the United Electrical, Radio, and Machine Workers of America (UE). “Cornell’s complicity perpetuates its history from profiting from dispossession.”
Pronouncing its synthesis of classical Marxist themes and anti-Zionist propaganda, the statement continued: “The labor movement faces a once in a generation opportunity to build international worker solidarity after globalization has fractured the working class across lines of race, gender, legal status, and national borders. The Palestinian Trade Unions have urged us, as workers of the world, to end all forms of complicity with Israel’s crimes.”
Cornell UE, which announced the membership vote last week, added that it will follow up the resolution with a series of policies and actions intended to enforce it, including using union time, resources, and space to advocate anti-Zionism, pressure the university to “disclose” its investment holdings, and enforce BDS within the union by ensuring its members “refuse funding sources that are tied to the US and Israel militaries and weapons manufacturers and … find alternatives.”
Experts told the US Congress in September that antisemitism runs rampant in campus labor unions, trapping Jews in exploitative and nonconsensual relationships with union bosses who spend their compulsory membership dues on political activities which promote hatred of their identity and the destruction of the Jewish homeland.
Testifying at a hearing titled “Unmasking Union Antisemitism” held by the House Education and the Workforce Subcommittee on Health, Employment, Labor, and Pensions, the witnesses described a series of issues facing Jewish graduate students represented against their will by the UE.
In particular, Cornell University UE was accused of denying religious exemptions in several cases as well and followed up the rejection with an intrusive “questionnaire” which probed Jewish students for “legally-irrelevant information.”
During an interview with The Algemeiner after the hearing, Glenn Taubman, staff attorney for the National Right to Work Legal Defense Foundation (NRTW), said union antisemitism highlights the issues inherent in compulsory union representation, which he argued quells freedom of speech and association. He pointed to the case of Cornell PhD candidate David Rubinstein, who said he has experienced a climate of hatred that is impervious to correction because the ringleaders fostering it hold left-wing viewpoints.
“The only reason that David is forced to be represented by UE and is theoretically forced to pay them dues is because federal labor law allows that and in many cases requires it,” Taubman explained. “What I told the committee is that ending the union abuse of graduate students and people like David requires amending federal law so that unions are not the forced representatives of people who don’t want such representation.”
He added, “Unions have a special privilege that no other private organization in America has, and that is the power to impose their representation on people who don’t want it and then mandate that they pay dues because they quote-un-quote represent you. That is the most un-American thing that I can imagine.”
Campus antisemitism has drawn NRTW into an alliance with Jewish faculty and students across the US.
In 2024, it represented a group of six City University of New York (CUNY) professors, five of whom are Jewish, who sued to be “freed” from CUNY’s Professional Staff Congress (PSC-CUNY) over its passing a resolution during Israel’s May 2021 war with Hamas which declared solidarity with Palestinians and accused the Jewish state of ethnic cleansing, apartheid, and crimes against humanity. The group contested New York State’s “Taylor Law,” which it said chained the professors to the union’s “bargaining unit” and denied their right to freedom of speech and association by forcing them to be represented in negotiations by an organization they claim holds antisemitic views.
That same year, NRTW prevailed in a discrimination suit filed to exempt another cohort of Jewish MIT students from paying dues to the Graduate Student Union (GSU). The students had attempted to resist financially supporting GSU’s anti-Zionism, but the union bosses attempted to coerce their compliance, telling them that “no principles, teachings, or tenets of Judaism prohibit membership in or the payment of dues or fees” to the union.
“All Americans should have a right to protect their money from going to union bosses they don’t support, whether those objections are based on religion, politics, or any other reason,” NRTW said at the time.
Follow Dion J. Pierre @DionJPierre.
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Shabbat dinners for young adults were the new thing. Now OneTable is laying off staff.
When OneTable, a nonprofit that helps organize and fund Shabbat dinners for thousands of young adults each year, introduced its new chief executive in May, things seemed to be on the upswing. Amid a national rise in Jewish engagement, OneTable board chair Julie Franklin said the organization’s community was “thriving and bigger than ever before.”
Internally, though, the organization was facing a decline in funding, and on Tuesday it laid off 14 employees — about a quarter of its staff.
CEO Sarah Abramson informed staff of the impending layoffs in a companywide Zoom call Tuesday afternoon, according to a OneTable employee who was later informed that they were among those whose jobs were cut. The Forward granted the employee anonymity to discuss the situation.
The organization confirmed the layoffs in a statement.
“Our organization is undertaking a planned, strategic shift in staffing to ensure we effectively continue to empower young adults to craft their own personalized Shabbat practices filled with meaning, reflection, and community,” the statement said.
The cuts — which did not appear to include any executives, the employee said — come as OneTable, whose budget still exceeds $10 million, makes broader changes to its approach.
Oct. 7 changed Shabbat dinners
The organization typically gives hosts, who must be Jewish and are generally aged 21-39, a stipend of $10 per registered guest at their dinners. Guests looking for a Shabbat dinner can sign up to be matched with a host on the OneTable platform.
After Oct. 7, the employee said, the organization saw a new pattern emerge: Unique guests were down, with some hosts inviting the same few guests over and over. In recent months, OneTable began “graduating” — that is, discharging — some of those hosts in an effort to reduce costs and focus on the mission of bringing Shabbat to more people, the employee said.
In the statement about the layoffs, the company said that their participants have doubled to 80,000 annually since Oct. 7, and that the layoffs will allow them to “explore new engagement approaches including pilots launching in 2026.”
The organization also partners with local organizations to receive funding and to collaborate on larger dinner events. But several OneTable field managers were laid off, perhaps signaling a change to that model.
The future of a newer program for older adults, known as “50ish+,” is unclear.
An audited financial report from 2024, made public by OneTable on its website, reported just under $11 million in assets — down from just under $12 million the year prior, with net contributions and grants receivable also down from roughly $8.5 million to $7.4 million.
The previous CEO, Aliza Kline, co-founded the organization and served 10 years in the role before stepping down in 2024.
The post Shabbat dinners for young adults were the new thing. Now OneTable is laying off staff. appeared first on The Forward.
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Africa Becomes Center of Global Terrorism Amid ISIS Revivals, Al Qaeda Alliances
Islamic State – Central Africa Province released documentary entitled “Jihad and Dawah” covering group’s campaigns in northeastern Democratic Republic of Congo and battles against Congolese and Ugandan armies. Photo: Screenshot
Both independent analysts and the United States government have identified rising Islamist terrorist threats across Sub-Saharan Africa as a growing concern, now positioning the region at the center of attention regarding global jihadist terrorism.
Gen. Dagvin Anderson, commander of US Africa Command (AFRICOM), has started a series of visits to African partners, starting with Ethiopia, Somaliland, and Puntland.
“The whole reason I came here is because we have shared threats,” Anderson said. “I’m not new to this region; I understand what the issues are, and we’re here to help empower our African partners to address these threats in a united way.”
Just last week, AFRICOM coordinated with the government of Somalia to strike Islamic State (ISIS) and al-Shabaab targets.
“As we face the growing security threats, including the rise of terrorist activities in East Africa, the Sahel, and West Africa’s coastal regions, the collective efforts are more important than ever,” Anderson said. “Together we can build a more prosperous and secure future for the United States, for Africa, and most importantly, for our children.”
Anderson’s trip came after the Combating Terrorism Center at West Point released a report last month showing that, last year, 86 percent of all terrorism-related deaths occurred in just 10 countries, with seven of them in Africa and five in the continent’s Sahel region.
The report explained how the Sahel — a belt that runs across the African continent and is also called the Sahelian acacia savanna — dominates the map of terrorism deaths today.
“Where once the global terror threat was concentrated in the Middle East and North Africa, today it is centered in the Sahel, specifically in the tri-border region between Burkina Faso, Mali, and Niger,” the report’s four authors wrote before noting that, according to the 2025 Global Terrorism Index, the region comprised more than half of all terrorism-related deaths last year.
“The data shows that while countries such as Pakistan, Afghanistan, Syria, Somalia, and Nigeria have been largely steady when it comes to significant impact by terrorism over recent years, Sahelian countries (Burkina Faso, chief among them) have experienced a steep increase,” the analysts assessed. “In 2023 and 2024, Burkina Faso was most impacted by terrorism globally.”
Regarding the specific groups responsible for these slayings in the Sahel, the Africa Center for Strategic Studies primarily blamed an al-Qaeda-affiliate, Jama’a Nusrat ul-Islam wa al-Muslimin (JNIM), which it identified as being responsible for 83 percent of deaths in the region.
In August, a report from the Observer Research Foundation argued that “the African continent remains the principal theater of global jihadist activity.”
Colin Clarke and co-author Anoushka Varma, both of the Soufan Group, described the threat of JNIM. The group “has entrenched its position as the deadliest terrorist group in the Sahel, escalating attacks across Burkina Faso, Mali, and Niger, while making inroads into Benin, Ghana, and Togo — countries that had largely avoided jihadist violence until now,” they wrote. “In the first half of 2025, JNIM claimed to have carried out at least 280 attacks in Burkina Faso — double the number recorded during the same period in 2024 — and was responsible for approximately 8,800 fatalities across the Sahel that year.”
Another region of the continent drawing the concern of counter-terrorism analysts is the Horn of Africa (HOA), where the West Point researchers identified the “critical case” of the “the triangular confluence that has developed between the Houthis, al-Qaeda in the Arabian Peninsula (AQAP), and al-Shabaab.”
Despite the Houthis being backed by Shi’ite Iran and operating primarily out of Yemen, the West Point report noted that “there is even evidence that the Houthis have collaborated with Islamic State Somalia [a Sunni group], coordinating on intelligence and procurement of drones and technical training.”
Clarke and Varma also explained the unique threats operating in the HOA in their analysis, explaining that “both the Islamic State–Somalia Province (IS-Somalia) and al-Qaeda’s Somali affiliate, al-Shabaab, remain key drivers of regional instability.”
In April 2025, they wrote, al-Shabaab “launched a renewed offensive in Middle Shabelle, regaining territorial control not seen since the Somali federal government’s counteroffensive in 2022.” The analysts also identified that “IS-Somalia has attracted foreign fighters from Ethiopia, Djibouti, Kenya, and even among the Somali diaspora in the West.”
In addition to the increased violence in the HOA and Sahel African regions, two other alarming trends in terrorism that West Point’s researchers named are the wide involvement of Iran with organized crime gangs and the decreasing ages of first-time terrorist suspects.
The report stated that over the last five years, Iran has conducted 157 foreign operations, with 22 involving criminal groups and 55 involving terrorist groups. These range from “Hell’s Angels gang members in Canada to the Kinahan Cartel in Ireland.”
Likewise, the age range of terrorism offenders has transformed.
The authors stated that many analysts have identified “a new wave of extremism among children” and that “across Europe as a whole, nearly two-thirds of Islamic State-linked arrests in 2024 involved teenagers. This included the infamous August 2024 plot by three males aged 17 to 19 targeting a Taylor Swift concert in Vienna, Austria.”
In 2024, the United Kingdom reported that 20 percent of its terrorism suspects were legally classified as minors.