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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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Iran’s Deepening Water Crisis Threatens 35 Million as Economy Buckles Under US Pressure, Mounting Domestic Strain
People walk on a street near a mural featuring an image of the late Supreme Leader of Iran, Ayatollah Ali Khamenei, in Tehran, Iran, May 6, 2026. Photo: Majid Asgaripour/WANA (West Asia News Agency) via REUTERS
As talks with the United States over a possible deal to end the war remain uncertain, Iran’s economy is under mounting strain, with prolonged water shortages, pressure on energy infrastructure, and slowing industrial output deepening what authorities describe as an “economic war.”
With Iran entering the summer months amid a deepening water and electricity crisis, government officials estimate that around 35 million people will face water shortages, intensifying concerns over deteriorating living conditions, mounting economic strain, and daily hardship across the country.
On Monday, Issa Bozorgzadeh, a spokesman for the country’s water industry, reported that rainfall has fallen “below normal” levels across 11 provinces, warning that Tehran is among the worst affected as it enters its sixth consecutive year of drought.
Now, Iranian authorities are urging citizens to cut consumption and adopt stricter usage habits, pointing to deep structural failures in the water and power sectors as public frustration rises over supply disruptions, mismanagement, and declining living standards.
Officials have also announced planned summer power outages, warning that the deepening energy crisis could lead to factory shutdowns, reduced industrial output, rising unemployment, and higher prices.
On Sunday, Arash Najafi, head of the Energy Commission of Iran’s Chamber of Commerce, noted that household, commercial, and office blackouts are likely to continue daily throughout the summer, while the industrial sector will continue to be targeted for power cuts” or “will continue to bear the brunt of power cuts.
Given the damage to several petrochemical facilities in Israeli and US strikes and their reliance on electricity from the national grid, Najafi said most available power would now be directed toward keeping these complexes operational around the clock.
“The Islamic Republic will be forced to impose electricity consumption restrictions for about 120 days, and given the lack of effective means for people to significantly reduce usage, this will result in widespread blackouts,” the Iranian official said in a statement.
Amid growing public frustration over the ongoing crisis, Majid Doustali, a member of Iran’s parliamentary planning and budget committee, called on citizens to cut back on electricity, water, and fuel consumption as part of the country’s resistance efforts in what he described as an “economic war.”
“Every effort by the public to save resources represents a direct challenge to the enemy’s economic conspiracy,” Doustali said.
Even as the crisis continues to weigh heavily on the Iranian people, a nationwide internet blackout remains in place, having exceeded 1,728 hours as of Monday, after authorities imposed the shutdown more than two months ago, effectively isolating millions of Iranians from independent reporting on the war and access to global news.
Across much of the country, unstable internet forces many people to rely on illegal black-market virtual private networks (VPNs) — tools that bypass government censorship — to stay connected beyond Iran’s borders, with access costing millions, and users risking imprisonment and national security charges.
According to a CNN estimate, Iranians have spent roughly $1.8 billion on internet access over the past two months.
Soaring costs and crumbling infrastructure have also forced businesses to cut jobs on a massive scale, leaving many workers unemployed and intensifying social and economic pressures across the country, The New York Times reported.
Dozens of major companies have reportedly laid off hundreds of employees across multiple industries, with the industrial sector alone potentially putting up to 3.5 million workers at risk, as the country’s economy reels from the impact of a US naval blockade on Iranian ports that began in mid-April.
The US blockade has prevented the regime from exporting energy through the Strait of Hormuz — a critical global energy chokepoint through which about one-fifth of the world’s oil supply passes.
With companies sharply reducing or freezing production amid shutdowns and mass layoffs, the private sector downturn is further threatening the regime by reducing tax revenues, which the government has come to rely on heavily amid mounting sanctions and trade restrictions.
Iran’s new supreme leader, Ayatollah Mojtaba Khamenei, has attempted to contain the fallout by urging companies to avoid layoffs “to the extent possible.”
But the regime’s internet shutdown alone has cost businesses and companies an estimated $80 million in daily losses, The New York Times reported.
As the Iranian currency continues to plunge and inflation peaks near 60 percent, senior official Gholamhossein Mohammadi said the war has already cost around one million jobs, alongside “the direct and indirect unemployment of two million people.”
Meanwhile, Iran’s energy sector is also under severe strain, with exports falling sharply, storage capacity nearing its limits, and infrastructure under growing pressure.
According to data from commodity analytics firm Kpler, Iran could exhaust its oil storage capacity within 25 to 30 days if the crisis continues, prompting cuts in output at several oil fields to ease pressure.
Amid an export collapse exceeding 70 percent, the government now faces a critical decision between shutting wells to manage storage constraints or risking long-term damage to key oil fields.
Even though Kpler’s report estimates Tehran may not feel the full revenue hit for another three to four months due to payment delays and pre-existing sales flows, the regime is expected to face a heavy blow, with losses potentially reaching $200–250 million per day.
With domestic tensions rising and the internal economic crisis worsening, Iranian officials are increasingly wary that renewed protests could erupt in the coming days, further destabilizing an already volatile situation.
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Sen. Cory Booker Reaffirms Commitment To Maintaining Israel’s ‘Qualitative Military Edge,’ Criticizes ‘Reckless War’ In Iran
April 12, 2026, New York, New York, United States: (NEW) 2026 NAN Convention. April 11, 2026, New York, New York, USA: U.S. Senator Cory Booker speaks during Day 4 of the National Action Network (NAN) 35th Anniversary Convention at Sheraton New York Times Square Hotel on April 11, 2026 in New York City. (Credit: M10s / TheNews2)(Foto: M10S/Thenews2/Zumapress) (Credit Image: © M10s/TheNEWS2 via ZUMA Press Wire)
Sen. Cory Booker (D-NJ) defended his continued support for Israel in a recent interview while distancing himself from what he described as a “reckless war,” underscoring the increasingly delicate balancing act facing pro-Israel Democrats amid mounting political pressure from the party’s progressive wing.
In an interview with the media outlet RealClearPolitics, Booker emphasized that his opposition was not directed at Israel itself, but rather at policies he believes risk further destabilizing the Middle East and weakening long-term regional security.
“Let’s be clear, I’m opposed to a reckless war that has made the United States and Israel less safe, as well as our other Arab allies. I will not support arms from the United States or any of our allies, including Israel, in a context of a war that is endangering our national security and Israel’s. I continue to support our US military being the strongest in the world,” Booker said.
The comments come as divisions within the Democratic Party over Israel have intensified following over two years of conflict in Gaza and escalating tensions involving Iran-backed militant groups across the region. While a growing faction of Democrats has pushed for stricter conditions on military aid to Israel, Booker sought to position himself as firmly supportive of the US-Israel alliance even as he voiced concern about the conduct and trajectory of the conflict.
Booker, however, emphasized that he still supports helping Israel maintain its military advantage over its neighbors in the Middle East, a position which analysts argue helps bolster American geopolitical interests in the region.
“I continue to support Israel having a qualitative military edge, the ability to defend themselves, and offer deterrents. But in the context of this war, I will not support more military armaments to conduct what I think is a disaster that’s endangering American lives, Israeli lives, and as we see in the UAE and Saudi Arabia, our regional allies as well.”
Booker, long viewed as one of the Senate’s more traditionally pro-Israel Democrats, has historically backed military assistance to the Jewish state and has frequently spoken about the importance of Israel as America’s closest democratic ally in the Middle East. His latest remarks appeared aimed at reassuring pro-Israel voters and donors wary of the party’s leftward shift on the issue.
However, Booker raised eyebrows recently when he joined a record number of Democratic senators to vote in favor of Sen. Bernie Sanders’ (D-VT) resolution against sending more arms to Israel, raising questions among some pro-Israel observers about his position on Israel.
Of the 47 Senate Democrats, 40 voted in favor of blocking sales of bulldozers and 36 voted in favor of blocking transfers of so-called “dumb” bombs.
The failed votes represent the largest show of opposition to military aid for Israel within the party in recent memory. While previous efforts spearheaded by Sanders drew support from a smaller bloc, this vote saw roughly 80 percent of Senate Democrats vote against transferring aid to the Jewish state, signaling a seismic shift in the dynamic between the Democratic Party and Israel.
Booker’s framing may reflect a broader strategy among mainstream Democrats: separating criticism of specific military operations from opposition to Israel’s existence or security needs.
Supporters of Israel argue that distinction is increasingly important as anti-Israel rhetoric grows more common in some activist circles following Hamas’ October 7 attacks and the subsequent war in Gaza. A growing number of Democratic officials and ambitious progressive candidates have accused the Jewish state of committing “genocide” in Gaza. Israeli officials have repeatedly argued that military operations are necessary to dismantle Hamas and prevent future attacks against Israeli civilians.
Booker’s comments may signal an effort to preserve bipartisan support for Israel at a time when polling shows younger Democratic voters becoming more critical of the Israeli government. At the same time, pro-Israel advocates have warned that weakening US backing could embolden Iran and its regional proxies, including Hamas and Hezbollah.
The senator did not indicate support for ending military cooperation with Israel altogether, instead emphasizing that American leadership should focus on both protecting Israeli security and preventing a wider regional war.
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Israel bars YouTuber Tyler Oliveira from entering country, citing ‘harassment of Jews’ on social media
(JTA) — Israel’s Diaspora affairs minister, Amichai Chikli, confirmed on Monday that right-wing YouTube provocateur Tyler Oliveira had been barred from entering Israel, accusing him of coming to the country with the “aim of spreading hatred.”
Amid reports that Oliveira had been rebuffed at Ben Gurion Airport, Chikli resurrected a weeks-old post from the YouTuber asking, “You guys think Israel will let me into the country?” and replied with a blunt, one-word answer: “No.”
Oliveira has drawn allegations of antisemitism in recent months over videos in which he claimed to expose widespread fraud in Kiryas Joel, a Hasidic enclave in upstate New York, and Lakewood, a heavily Orthodox town in New Jersey.
The videos, which each garnered over 9 million views, drew outcry from Jewish leaders who accused Oliveira of trafficking in antisemitic stereotypes and mischaracterizing Jewish communities as hotbeds of corruption.
On Friday, Oliveira sat for an interview with the conservative influencer Tucker Carlson, who himself claimed in February that he had been “detained” after arriving at an Israeli airport to conduct an interview with U.S. Ambassador to Israel Mike Huckabee. Both Huckabee and Israel denied Carlson’s allegation.
In a statement to Israel National News, the Ministry of Diaspora Affairs and Combating Antisemitism said the decision to bar Oliveira stemmed from his activity that “goes beyond legitimate freedom of expression” and includes “inciting statements against Jews and the dissemination of content with antisemitic characteristics.”
The far-right Jewish activist Laura Loomer posted a series of tweets on Monday that she said included comments from Chikli. The Israeli minister retweeted one of them, signaling his endorsement.
“I’m proud to have denied entry to Israel today to an unfortunate YouTuber who is using the harassment of Jews as a way to get clout on social media,” Loomer said Chikli told her. He added, “If you come to Israel with the intent on inciting violence and hatred against Jewish people, you will not be allowed entry into our country.”
Israel has previously banned other foreign activists and public figures from entering the country over their support for the boycott Israel movement, including European Union lawmakers Lynn Boylan and Rima Hassan last year as well as U.S. Reps. Rashida Tlaib and Ilhan Omar in 2019.
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