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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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Why The 36 Award
Antisemitism is, unfortunately, a fact of life in the United States and around the world. Jewish people continue to experience harassment, discrimination, and violence. Antisemitic tropes and conspiracy theories exacerbate the problem.
Antisemitism does not exist in isolation; it both reflects and accelerates the erosion of democratic norms, institutions, and trust, emerging alongside other forms of hate and prejudice that collectively weaken the social fabric and the shared commitments on which all communities depend.
And while naming antisemitism and its impact is necessary, what truly matters is our shared responsibility to confront it.
This is a moment to push back collectively, within and beyond the Jewish community. No single organization, community, or ideology can meet this challenge alone. The pursuit of solutions requires acknowledging what we do not yet know, remaining open to learning, and committing to the collective effort.
Nathan Cummings Foundation (NCF) approaches this work as part of a broader justice journey and our commitment to Racial, Economic, and Environmental Justice (REEJ). As an institution rooted in the Jewish tradition of tikkun olam, repairing the world, our commitment to social justice and Jewish values has long guided our work across our focus areas, which includes being in partnership with leaders across REEJ.
We believe that our pursuit of justice is incomplete if it does not also address antisemitism. Antisemitism is oppression and is inseparable from broader struggles against bigotry, exclusion, and threats to democratic life. Addressing it strengthens movements, deepens solidarity, and reinforces the conditions necessary for collective progress.
Recognizing and engaging this challenge is essential to building a more just, inclusive, and democratic society and advancing our pursuit of REEJ.
With all of this in mind, NCF, in collaboration with the Jewish Social Justice Roundtable and supported by a growing coalition of partners across the country, created The 36 Award. The award takes its name from a powerful concept in Jewish tradition: the belief that in every generation there are 36 righteous individuals whose actions help sustain the world.
Across the country, there are people confronting antisemitism in ways that do not always attract headlines. They are building relationships across lines of race, faith, geography, and ideology. They are helping communities navigate difficult conversations. They are creating new models, narratives, and pathways toward understanding. In many cases, they are demonstrating that combating antisemitism and advancing broader justice are not competing goals but mutually reinforcing ones. The 36 Award is designed to find those individuals and elevate and support their work.
The challenges before us are significant. Yet history reminds us that lasting progress often begins with people willing to see possibilities others overlook. The search for those people is what The 36 Award truly represents.
We believe that new ideas matter and that solidarity can be built through courageous leadership, which often emerges where few are looking. We are excited to announce the inaugural winners of The 36 Award. Please visit 36award.us to learn about these inspiring individuals.
Sincerely,
Rey Ramsey, President & CEO
Amy Sorensen Ben-Dov, Chair, Board of Trustees
Nathan Cummings Foundation
The post Why The 36 Award appeared first on The Forward.
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The 36 Award Winner: Building a Public Health Response to Antisemitism
Myrieme Churchill, Executive Director of Parents for Peace (P4P), has been named an inaugural recipient of The 36 Award, honoring a decade of work building what may be the first confidential intervention program in the world focused specifically on antisemitism.
Churchill leads P4P, a national public health organization serving families, schools, and communities across the United States and Canada. Through its Antisemitism Intervention and Recovery (AIR) Program, P4P brings together licensed psychologists, peer interventionists, and a team that includes former neo-Nazis and former jihadists. Its central argument once sounded unlikely to many in the field: extremism is not just a security issue, but a public health crisis that demands early intervention, education, and community-based support. The need has grown sharply. P4P says it saw a steep rise in anti-Jewish hatred after October 7, 2023, both in its own caseload and across society. In 2025, 70 percent of its helpline cases involved antisemitism, spanning far-right white nationalism, jihadist networks, and far-left movements.
Churchill’s path to this work began in Morocco. The daughter of a Black Moroccan Muslim father and a white French Christian mother, she grew up biracial and rarely felt she belonged anywhere. As a child, she was excluded and targeted by other children who misidentified her as Jewish and often used the word “Jew” to insult her.
“That history gives me a deep appreciation for how identity, exclusion, and belonging shape people’s lives,” Churchill said.
Those early experiences left her with questions that have stayed with her ever since: Why do people hurt one another? Where does hate come from? Why have Jews so often been made the scapegoat? The questions led her to a career as a therapist. Her early work took her to the streets of Marseille, where she worked with young immigrants targeted by traffickers, and later to Boston, where she treated people with mental illness and addiction. Both jobs, she said, taught her how vulnerable people are at risk for abuse, self-destruction, and harming others.
Over years of clinical work in addressing addiction, Churchill began to notice a pattern. For some people, extremism seemed to work the way a drug does, offering relief from pain along with a sense of identity and purpose. People could get hooked on hate the way others get hooked on substances.
That insight became the foundation of the P4P model. Rather than treating extremism of any kind, including antisemitism, as a set of beliefs to argue with, the organization treats it as a maladaptive way of coping with grievance, isolation, and trauma. In P4P’s framing, extremism works like a psychological addiction, offering belonging at the cost of truth, safety, and humanity. Instead of relying on shame, public condemnation, or debate, P4P helps families recognize warning signs and assess escalating behavior, and helps their loved ones build healthier sources of identity, belonging, and purpose, while working with public safety resources when necessary. The goal is to replace hate with resilience, education, and genuine connection.
AIR, which P4P bills as the world’s first antisemitism helpline, builds on the organization’s existing public health approach and helpline model. It offers free, confidential support from trained interventionists to worried families, educators, and community members, as well as to people who are trying to step away from anti-Jewish beliefs themselves. P4P is also developing trainings for families, schools, and religious organizations on recognizing early warning signs, navigating online risks, and responding with evidence-based intervention.
The model was tested on the very first call to the AIR helpline in 2016. A mother had found several rifles under her son’s bed, along with a manifesto describing his plan to attack a synagogue. She was terrified and reluctant to contact law enforcement. Churchill stayed on the line and worked to earn the mother’s trust enough that she would call 911. The FBI later confirmed that the guns had been confiscated and that the young man had been hospitalized for treatment of psychosis.
“Courage sometimes means entering the worst moment of someone’s life and not looking away,” Churchill said.
P4P says its early intervention work has since helped prevent potential attacks on synagogues and violence against Jews, and has helped hundreds of people repair relationships, return to school or work, and rebuild lives no longer governed by extremist ideology.
Sagit Sade Attia, a member of the P4P board, described that work as a deliberate moral choice. “Rather than writing off people consumed by hate as beyond redemption, Myrieme has chosen the far more difficult path of engaging directly with individuals and families affected by radicalization, while never losing sight of the needs and safety of those targeted by hate,” she said.
The choice has not always been easy to explain. When Churchill first began describing extremism as an addiction, she recalled, people looked at her as if she had three heads. Public health framing has since moved closer to the mainstream, but an approach that begins with compassion for people who hold antisemitic views can still invite skepticism at a moment when Jewish communities feel under threat. Churchill answers by pointing to outcomes like the hundreds of families supported.
P4P doesn’t do this work alone. It has partnered with the Combat Antisemitism Movement, the ADL, the American Muslim and Multifaith Women’s Empowerment Council, and the Department of Homeland Security, as well as Bangladeshi and other immigrant communities. It has worked with the Harvard School of Public Health and Georgia State University to evaluate its work and to train former extremists as interventionists. Churchill has spoken at Eradicate Hate following the 2018 Tree of Life shooting, briefed Congress as part of a bipartisan effort, and testified before the Massachusetts Special Commission on Combating Antisemitism, where she urged antisemitism trainings in schools. Churchill puts it simply: “Antisemitism is not a Jewish problem alone; it is an all-of-us problem, and everyone pays the price when it spreads.”
The post The 36 Award Winner: Building a Public Health Response to Antisemitism appeared first on The Forward.
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Building the Legal Case Against White Nationalism
David Brody, founder of the Alliance of Jewish Americans, has been named an honorable mention for The 36 Award in its inaugural year. Brody has spent his career in courtrooms and coalitions confronting hate, and he believes Jewish safety in the United States depends on standing with every community that white nationalism targets.
Brody traces his commitment to his family and to the South. “As a Jew from Georgia, my Jewish identity was defined against the backdrop of the Black-Jewish shared struggle in the South,” he said. His great-grandmother fled pogroms, arrived in the United States as an unaccompanied minor with no English or education, and became a union organizer. His father registered voters for the Southern Christian Leadership Conference and spent four decades researching how poverty and discrimination affect the health of rural Black families. “My family taught that being Jewish in America means fighting for social justice,” Brody said.
Before launching the Alliance in 2026, Brody founded and led the Digital Justice Initiative at the Lawyers’ Committee for Civil Rights Under Law, the first tech policy program at a legacy racial justice organization. There, he built the first case applying public accommodations law to online harassment, representing Taylor Dumpson, the first Black woman to serve as student government president at American University, against a neo-Nazi website’s publisher who targeted her. Brody co-led the team representing Metropolitan AME Church in Washington, D.C., in its case against the Proud Boys after the group vandalized the church. He helped draft and championed what became the AI Civil Rights Act of 2025, which more than 80 civil rights, privacy, consumer, and labor groups have endorsed. His nominator, Erin Simpson of the Ford Foundation, said Brody coined the phrase “privacy rights are civil rights” at a time when many did not yet see the connection. She described him as “the engine that powered an entire community of racial justice and technology policy organizations.”
Brody said Jewish civil society is robust but has lacked a dedicated national legal organization, similar to the NAACP Legal Defense Fund or Lambda Legal. The Alliance is meant to fill that gap. It uses open-source investigative techniques to collect and preserve evidence of civil and human rights violations and white nationalist threats, with the goal of making that evidence admissible in court.
From his years litigating against white supremacists, Brody saw that few organizations take on litigation against white nationalism systematically, and that most investigative work in the field produces research reports rather than evidence that can stand up in a legal proceeding. He argues that white nationalism, which has motivated deadly attacks ranging from Pittsburgh’s Tree of Life synagogue in 2018 to a Buffalo grocery store in 2022, poses the greatest threat to Jewish safety in the United States in generations.
The Alliance’s work includes both near-term and longer-term legal investigations. Part of this work involves leveraging AI tools responsibly, such as using them to accelerate needle-in-a-haystack investigations of white nationalist activity or other threats that would not be cost-effective for human researchers. Other work is meant to provide evidentiary foundations for long-term efforts to research, document, and seek accountability for rights violations in the U.S. Brody said he is focused on what the field needs now and what it will need in five years.
Brody’s approach to coalitions is grounded in patience. He spent six years drafting model bills, persuading allies with different priorities, and testifying twice before Congress in support of privacy protections. In 2024, when a bipartisan privacy bill in Congress was stripped of its civil rights protections, Brody gathered signatures from more than 50 organizations on an opposition letter in under 24 hours, and the bill died. “Those groups did not sign because I told them what to do,” he said. “They signed because I spent years working with them, earning their trust, and advocating for their interests.”
Brody credits the courage of his clients for putting their names and faces on high-profile cases against violent white supremacists. He arranges his work so that, by the time a moment of risk arrives, “we have friends at our side.” He resists the idea that this takes a special method. “Building bridges does not require a special approach,” he said. “One should show up for everyone, listen with empathy, and do the work.”
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