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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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Sunkist Fruit Gems return after panic over loss of synagogue staple
(JTA) — Sunkist Fruit Gems, candies beloved for their throwable qualities at Jewish celebrations, will return after a brief panic over their discontinuation.
The sugar-coated gummies will be on shelves in early 2027 following an outpouring of “overwhelming support and enthusiasm shown by Sunkist Fruit Gems fans in recent days,” Sunkist confirmed to the Jewish Telegraphic Agency.
The company said it will collaborate with CandyRific, a Kentucky-based confectionery company, to continue the legacy of Sunkist Fruit Gems days after reports of the gummies’ demise.
The fruit gems tick crucial boxes for being hurled at bar and bat mitzvahs, wedding celebrations and other happy occasions: They are kosher, soft enough to avoid injuring celebrants and individually wrapped so they don’t get stuck on the floor.
Those attributes will be preserved in their relaunch. “Consumers can expect the same key product characteristics they know and love, including individually wrapped pieces, a soft texture, fruit flavors, and kosher certification,” Sunkist said.
EJewishPhilanthropy first reported Thursday that the fruit gems were being discontinued by Ferrara, a Chicago-based candy company, prompting memorial tributes in Jewish communities throughout the United States.
The fruit gems have been a staple at synagogues for generations. They were born from an overabundance of citrus in the 1930s, when the citrus harvester Sunkist transformed its surplus fruit into byproducts, according to a history published by the company. The candies evolved from Christopher’s Fruit Gems to take the Sunkist name in the 1960s.
Protests against their disappearance included an appeal in eJewishPhilanthropy penned by Sara Fredman Aeder, the executive vice president of programming at the Jewish Community Relations Council of New York, headlined “Save the Fruit Gems.”
Sunkist’s announcement on Instagram that the fruit gems were “not going anywhere” was met with grateful replies.
“I panic-bought in bulk for my wedding next year,” said one commenter on Instagram. “Now I feel foolish lol. But enjoying a bunch of very yummy gummies.”
This article originally appeared on JTA.org.
The post Sunkist Fruit Gems return after panic over loss of synagogue staple appeared first on The Forward.
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Mamdani rolls out NYC’s first plan for fighting antisemitism — without defining the term
Mayor Zohran Mamdani on Tuesday unveiled New York City’s first comprehensive strategy to combat antisemitism, promising millions of dollars for security, hate-crime prevention and Jewish education as antisemitic incidents rise.
But the 30-page plan leaves unresolved a central source of tension between Mamdani and much of the Jewish community: what counts as antisemitism and when anti-Zionism crosses that line. That question has followed Mamdani since his first day as mayor, when he revoked an executive order from former Mayor Eric Adams adopting the controversial International Holocaust Remembrance Alliance definition of antisemitism. The IHRA definition considers most forms of anti-Zionism as antisemitic.
The strategy does not adopt a formal definition of antisemitism and offers little clarity on how the administration views anti-Zionism.
“New York City can and will leverage all of the tools at its disposal to combat antisemitism effectively without needing to adopt a definition for this specific form of hate,” the document reads.
Phylisa Wisdom, who leads the Mayor’s Office to Combat Antisemitism and crafted the plan, told reporters the city is taking an approach similar to the Biden administration’s 2023 national antisemitism strategy, which drew from several competing definitions and frameworks rather than choosing one. Those include IHRA; the Nexus Document, which says criticism of Israel or opposition to Israeli government policy is not necessarily antisemitic; and the Jerusalem Declaration on Antisemitism, which offers a narrower definition.
Wisdom said the administration’s focus is less on settling that debate than on protecting Jewish New Yorkers regardless of their politics.
The Israel question
The question of how to define antisemitism has shaped the debate over pro-Palestinian protests at college campuses and outside synagogues, a persistent source of tension between Mamdani and Jewish organizations.
The strategy mentions the Oct. 7, 2023 Hamas attack on Israel and the war that followed as part of the rise in antisemitism, but does not directly link them. It points to a broader rise that began years earlier, including around the 2017 Unite the Right rally in Charlottesville and the 2018 Tree of Life synagogue shooting in Pittsburgh. Wisdom said antisemitism often spikes during conflicts involving Israel, as NYPD data showed after Oct. 7.
Mamdani has long sought to distinguish between his opposition to Israel and Zionism and his commitment to protecting Jewish New Yorkers. But he has repeatedly clashed with Jewish organizations and leaders over where anti-Zionist activism crosses the line into antisemitism. Those tensions intensified after a series of protests outside synagogues hosting events promoting real estate in Israel and the West Bank and his repeated accusations that Israel is committing genocide in Gaza. Some demonstrations have included chants calling for an “intifada” and other rhetoric Jewish leaders described as antisemitic and intimidating. Mamdani has condemned violence and expressions of support for terrorist organizations, but also defended the constitutional right to protest.
That prompted City Council Speaker Julie Menin to push legislation this past spring requiring the NYPD to develop a plan for establishing a buffer zone when demonstrations involve harassment, intimidation or physical threats. Mamdani, who had raised concerns about restricting protests, allowed the synagogue measure to become law without his signature.
The new antisemitism plan notes that neither the NYPD nor FBI considers protest outside a house of worship hateful or antisemitic, a position the Mamdani administration shares.
Menin told the Forward she had no input in developing the strategy. Wisdom said her office met with the City Council’s Jewish Caucus, of which Menin is a member. A spokesperson for Menin said the speaker was briefed Monday, a day before the plan was released.
What the plan includes: Security and prevention
The strategy comes as antisemitic incidents continue to move in the wrong direction. Recent NYPD statistics showed that in the first seven months of 2026, anti-Jewish incidents rose 8.5%, and 57% of the reported hate crimes in the city involved Jewish victims.
The new strategy attempts to tackle that problem through funding for security, education and cultural programs.
The Mamdani administration is putting $6.4 million into the Partners Against the Hate grant program that offers grants up to $10,000 for community-based initiatives. It is part of a $26 million investment Mamdani announced earlier this year for the Office for the Prevention of Hate Crimes. The Jewish Community Relations Council of New York will serve as the anchor organization in the program, working with grassroots groups on programs that include education, victim support, data collection and combating online hate.
Another $1 million will go toward a security program aimed particularly at smaller religious institutions and vulnerable nonprofits that may not qualify for larger federal security grants. The money could pay for stronger door locks, shatter-resistant glass and security wands.
And the administration is restarting an interagency Security Infrastructure Working Group that brings together the NYPD, Department of Transportation and other city agencies to help synagogues and Jewish cultural institutions assess threats and improve security.
City Hall also plans to work with public schools to expand eighth-grade visits to the Museum of Jewish Heritage and continue teaching students about Jewish American history through existing curriculum. The administration is also investing $2 million to complete the Queens Holocaust Memorial and $2.5 million in the Center for New Jewish Culture in Brooklyn.
An informational campaign on LinkNYC kiosks across the five boroughs will highlight the contributions of Jewish New Yorkers, modeled after a campaign created to combat anti-Asian hate following the COVID-19 pandemic.
Outreach to Jewish New Yorkers
The plan comes after months of outreach aimed at hearing from a Jewish community deeply divided over Mamdani and his views on Israel.
Wisdom said the office, which includes another two staffers, conducted a five-borough listening tour in homes, schools and community centers. Participants represented a wide range of religious observance and political views.
Mamdani has also increased his own outreach. In August, he met with a group of rabbis from several denominations for a discussion about Jewish safety and belonging. Some of those rabbis pressed him over his rhetoric on Israel. He has also met with Hasidic and Orthodox leaders and maintains close relationships with progressive Jewish organizations.
Wisdom said that concerns raised during those private conversations helped shape the final strategy.
But she acknowledged that those meetings have not erased the central disagreement.
Mamdani has repeatedly accused Israel of committing genocide in Gaza, produced a Nakba Day video commemorating the displacement of Palestinians during Israel’s founding in 1948, and called Israeli Prime Minister Benjamin Netanyahu a war criminal.
During his mayoral campaign, he pledged to have Netanyahu arrested if he came to New York under an International Criminal Court warrant, though his administration later acknowledged that the city does not have the authority to carry out such an arrest. Netanyahu, during his speech at the United Nations last week, accused Mamdani of spreading lies about Israel and contributing to an atmosphere in which Jews feel unsafe. Mamdani rejected that criticism and stood by his views on Gaza.
Wisdom said in a press briefing on Monday the administration recognizes that discussions over the Israeli-Palestinian conflict are part of the broader conversation about how Jewish New Yorkers experience safety in the city. But she said disagreement with the mayor on foreign policy should have no bearing on whether someone receives the protection of City Hall.
The administration rolled out the strategy on Tuesday with support from top city officials, several Jewish elected officials and liberal and progressive Jewish organizations, including the New York Jewish Agenda, Jewish Council for Public Affairs, Nexus Project, New Jewish Narrative, Jews For Racial & Economic Justice, Bend the Arc and J Street’s New York City chapter.
Jamie Beran, CEO of Bend the Arc, commended the decision not to enshrine a single definition, adding that doing so would be “unnecessary” and “a distraction from substantive policies.”
But the strategy did not meet the demands of the Anti-Defamation League, which had called for a “clear, formal definition of antisemitism the city actually uses.” ADL also asked that the plan ensure city contracts, pensions and procurements are kept “free of ideological boycotts.”
In a video announcing the strategy, the mayor said his conversations with Jewish New Yorkers over the past year repeatedly brought him back to the same concern of growing antisemitism. “This is not only unacceptable,” Mamdani said. “Today, we hold a responsibility to sustain and protect our Jewish neighbors.”
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Evan Gershkovich’s prison memoir begins with a Soviet Jewish exodus
A few days after Russian security agents arrested Wall Street Journal reporter Evan Gershkovich on a trip in March 2023, his lawyers showed him a slip of paper with messages from home. He was being held alone, in what Russian prisons call “quarantine:” two weeks without a cellmate before joining the general population. His eyes went straight to the note from his mother.
Soon he would start getting kosher food, Ella Milman wrote, and then added: “If you come home with sidelocks, I’ll understand.”
It was a joke, and a very Jewish one. Gershkovich grew up in a secular family of Soviet émigrés, where being Jewish had more to do with family history and dark humor than with religious practice. His mother was ribbing him that a few weeks of kosher prison food might send him home looking like a yeshiva boy.
Sitting across from the investigator building his espionage case, Gershkovich grinned. His mother, he realized, still had her sense of humor, and that was exactly what he needed.
The kosher food wasn’t a joke. That night, with Passover days away, a local rabbi sent him stacks of matzo.
The scene appears in This Cursed Beautiful Land: A Russian-American Story, Gershkovich’s memoir of his arrest, his 16 months behind bars and his release in the most elaborate U.S.-Russia prisoner swap since the Cold War. The book was published Tuesday.
Most of the coverage is about the prison. But Jewish history runs through the book from its first pages. Gershkovich’s great-grandfather was arrested during Stalin’s purges and vanished. His mother was laughed out of a journalism school application once the clerk saw her passport. And when he moved to Moscow as a young reporter, a Russian coworker needled him with an old stereotype about Jews and money.
The family that left
Gershkovich was born in New Jersey in 1991, two months before the Soviet Union fell apart. His parents had come over in 1979. Thousands of Soviet Jews were leaving at the time, helped by a U.S. law that linked trade with Moscow to whether its citizens were allowed to emigrate.
His mother flew out of Leningrad with her mother and ended up in Detroit. His father’s family came from Odessa and settled in Brighton Beach, the Brooklyn neighborhood people call Little Odessa. In those years, his father later joked, Soviet Jews who ran into each other on the street skipped the hellos and just asked where the other was going.
For his father’s side, the decision was easy. Gershkovich’s great-grandfather was arrested in 1937, at the height of Stalin’s purges, and never seen again. His grandfather Mark spent years moving from city to city, afraid of being targeted next, and later dreaded the day his own son would be drafted into the Soviet army.
A Jew on paper
Gershkovich’s mother, Ella, was born in 1957, a few years after the “doctors’ plot,” a Stalin-era campaign that accused Jewish physicians of conspiring to kill Soviet leaders. One of the doctors caught up in it had been a neighbor in her family’s communal apartment.
Her father had wanted to name her Etya, after his late sister. Worried that an obviously Jewish name would draw attention, her mother pushed for Ella instead. It didn’t matter. The family name Milman gave her away, and Soviet passports listed each citizen’s ethnicity. Hers said “Jew.”
Ella dreamed of becoming a writer. When she applied to the journalism department at Leningrad State University, the woman taking her application glanced at her passport and laughed. She studied shipbuilding instead, listened to the Rolling Stones, and heard rumors that the Kremlin planned to deport Jews to Birobidzhan, a remote Soviet region near the Chinese border that had apparently been set up as a Jewish homeland.
When she finally emigrated to America at 22, she sewed a pair of gold earrings from her late father into her skirt’s waistband to get them past customs. Once the plane took off, she couldn’t stop laughing and crying.
A generation later, her son became the journalist she wasn’t allowed to be, and then a prisoner of the state that had turned her away.
Ella and her husand settled in Princeton, New Jersey, where Gershkovich and his sister spent Saturday mornings with a Russian tutor, and holidays meant trips to the Russian groceries and Uzbek grills of Brighton Beach. Gershkovich came to think of himself as Jewish-Russian-American. Russia’s war in Ukraine later forced him to ask why that label had never included Ukraine, given that his father’s family came from Odessa.
The empty chair
In 2017, Gershkovich moved to Moscow to report for The Moscow Times. On one of his first days, he asked a colleague when staff got paid. She laughed and told him his Odessan roots were showing, a jab about Jews and money that served as his introduction to Russian workplace culture.
On a later trip to Odessa, he visited a Jewish museum that displayed a 1953 Soviet propaganda article from the doctors’ plot era. It claimed that the Joint, the New York-based Jewish relief organization, was a front for American intelligence. Gershkovich recalls thinking that Moscow was getting paranoid again, while hoping things hadn’t gotten that bad. A few years later, Russia accused him of spying for the United States.
Gershkovich’s arrest came a week before Passover. That spring, many American Jews left an empty seat for him at their Seders, and activists later sent him letters for Rosh Hashanah. Both gestures deliberately echoed the movement to free Soviet Jewry, the same campaign that had helped free his parents. Natan Sharansky, the most famous Soviet Jewish dissident, who was himself released in a 1986 prisoner swap, advocated publicly for his release.
In July 2024, two weeks after a Russian court sentenced Gershkovich to 16 years in a maximum-security prison, he was freed in a prisoner exchange in Ankara, Turkey. Jewish groups celebrated, and the Orthodox Union posted the traditional blessing thanking God for freeing captives.
His great-grandfather was taken in 1937 and never came home. Eighty-seven years later, his great-grandson did.
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