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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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Anti-Israel Activist Cameron Kasky Drops US Congressional Bid in New York
Cameron Kasky, former US congressional candidate in New York’s 12th district. Photo: Screenshot
Cameron Kasky, a prominent Gen Z political activist and Parkland school shooting survivor, has withdrawn from the Democratic primary race to succeed US Rep. Jerry Nadler in New York’s 12th Congressional District, saying he plans to focus instead on human rights in the West Bank.
Kasky, 25, announced his decision on Tuesday in a social media post, ending a short-lived congressional bid that had drawn attention for its sharp criticism of Israel and its appeal to younger progressive voters. He said recent travel to the West Bank had influenced his decision to step away from electoral politics for now.
“Thank you to everyone who supported our human rights-centered campaign for New York’s 12th Congressional District,” Kasky posted on X.
“It’s the honor of my life to be walking out of this race with the chance to do what must be done,” he continued, adding that he intends to focus on documenting and opposing what he described as “settler violence” in the West Bank.
His exit marks the latest shake-up in the already crowded Democratic primary to represent one of Manhattan’s most reliably blue districts, which spans parts of the Upper East Side, Upper West Side, and Midtown. Nadler, who has represented the district for decades, announced his retirement last year, triggering a wide-open contest.
Kasky, who is Jewish and rose to national prominence as a co-founder of the March for Our Lives movement after surviving the 2018 Parkland shooting, entered the race late last year with a platform centered on gun reform, progressive domestic policies, and a call to halt US military aid to Israel. He had repeatedly accused Israel of committing genocide in Gaza, a position that set him apart from much of the Democratic establishment in New York.
Kasky has also accused Israeli leaders of advancing the war in Gaza in service of the “Greater Israel” agenda — a fallacious conspiracy theory which claims that Israel seeks to expand its borders into the Sinai Peninsula, Lebanon, Saudi Arabia, Syria, and Iraq.
Such views drew praise from some younger activists but also criticism from pro-Israel groups and Democratic leaders in the district, where support for the Jewish state has historically been strong.
During his short-lived campaign Kasky notably vowed to vote against all aid to Israel, including aid to furnish the Iron Dome missile interception system.
With Kasky’s departure, the field remains packed with well-known figures, including New York State Assembly members Micah Lasher and Alex Bores, journalist and former cable news anchor Jami Floyd, and Jack Schlossberg, the grandson of former President John F. Kennedy. Conservative lawyer George Conway, a longtime critic of US President Donald Trump, is also running as a Democrat.
Political analysts have said Kasky was unlikely to emerge as a frontrunner in a district dominated by older, highly engaged voters, but his candidacy reflected broader generational and ideological tensions within the Democratic Party, particularly over US policy toward Israel.
His withdrawal removes one of the race’s most outspoken critics of Israeli government policy, potentially narrowing the ideological range of the debate as the primary campaign accelerates.
The Democratic primary is scheduled for June, with the winner heavily favored to hold the seat in November.
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UK Home Secretary Says She ‘Lost Confidence’ in Police Chief Following Ban on Maccabi Tel Aviv Soccer Fans
British Home Secretary Shabana Mahmood speaks on stage at Britain’s Labour Party’s annual conference in Liverpool, Britain, Sept. 29, 2025. Photo: REUTERS/Hannah McKay
British Home Secretary Shabana Mahmood told Parliament on Wednesday that she has lost confidence in the chief constable of the West Midlands Police (WMP) and will push for a new law that will give her power to fire him, after it was revealed that intelligence used by the police force to justify a ban against fans of the Israeli soccer team Maccabi Tel Aviv was “exaggerated or simply untrue.”
Mahmood’s comments came on the same day that her office announced new plans to give the home secretary the power to fire “failing chief constables.”
Speaking to UK lawmakers, Mahmood said that WMP Chief Constable Craig Guildford “no longer has my confidence” and that he should have ensured “more professional and thorough work was done” by police before the ban was implemented late last year. She claimed it has been over 20 years since a home secretary has made such comments about a chief constable.
West Midlands Police had a “failure in leadership” which “harmed the reputation and eroded public confidence in West Midlands police and policing more broadly” across the country, the UK’s home secretary explained in front of the House of Commons.
Maccabi supporters were banned from attending a soccer game at Villa Park in Birmingham on Nov. 6 last year, a decision made by Birmingham City Council in October following advice from a safety advisory group which acted on a recommendation by West Midlands Police. Traveling Israeli fans were banned from the soccer game between Maccabi and Aston Villa due to “public safety concerns.”
“I do believe all of us in this country need to be able to trust the police when they come forward and they say they have risk assessed an upcoming event; they have come to a professional judgment as to whether an event can take place safety or not,” Mahmood said. “We all need to be able to trust that they have gone about making that risk assessment in a way that is robust, consistent, in line with the law, and just plain old truthful. That is not what’s happened in this case … It’s why I set out what I said about losing confidence in the chief constable.”
Mahmood does not have the power to fire a chief constable because of law changes implemented in 2011. Guildford would have to be dismissed by Simon Foster, the West Midlands Police and crime commissioner. However, Mahmood’s office announced on Wednesday she will push new legislation that will once again restore power to the home secretary to “force the retirement, resignation, or suspension of chief constables on performance grounds.”
Mahmood said she came to the conclusion about Guildford after receiving a “damning” and “devastating” report by His Majesty’s Inspectorate of Constabulary and Fire and Rescue Services, Sir Andy Cook, that “catalogues failures that did not just affect traveling fans” but also “let down our entire Jewish community in West Midlands and across the country.”
Cook’s report provides evidence that WMP only sought evidence to support what Mahmood called the police force’s “desired position” to ban Maccabi fans. The report also elaborates on a series of “misleading” public statements made by the police force, including Guildford, and “misinformation” promoted by the police. Cook’s report showed police “overstated the threat posed by Maccabi fans while understating the risk that was posed to the Israeli fans if they traveled to the area,” according to Mahmood.
“What is clear from this report [is] that on an issue of huge significance to the Jewish community in this country and to us all, we have witnessed a failure of leadership that has harmed the reputation and eroded public confidence in West Midlands police and policing more broadly,” the home secretary said.
When the ban against Maccabi supporters was first announced in October, Mahmood and British Prime Minister Keir Starmer were among those who voiced concerns about the decision and said Israeli soccer fans should be allowed to attend the game.
Mahmood said police forces across the country should learn a “lesson” from the mistakes of WMP. Police around the UK should remember “they are called to their profession to serve truth and the law, to police our streets without fear or favor, and that community trust and cohesion depends upon them doing that above all else,” she said.
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Deborah Lipstadt has second thoughts about tying Jackson synagogue arsonist to ‘Globalize the Intifada’
(JTA) — As news broke over the weekend of an arson attack that heavily damaged the only synagogue in Jackson, Mississippi, a few prominent individuals connected the culprit to pro-Palestinian activism.
“This is a major tragedy. But it’s more than that,” Deborah Lipstadt, formerly the State Department’s special envoy to combat antisemitism, wrote on the social network X. “It’s an arson attack and another step in the globalization of the intifada.”
Later, upon learning that the arsonist appeared to have been motivated by a strain of antisemitism associated with the far right, not the pro-Palestinian movement, she walked back her comments — to a degree. But Lipstadt’s initial comments about the arsonist’s motives reflect a larger sense of disorientation among diaspora Jews as they face increased levels of antisemitism from across the spectrum of left-wing, right-wing and Islamist extremism.
Jewish activists and communities have been engaged in fierce debate over which corner poses the greatest threat, and reports of new incidents are often met with immediate speculation over the attacker’s motivations. Lipstadt, an Emory University professor who had served in the State Department under President Biden, has herself criticized the politicization of antisemitism charges. “When you only see it on the other side of the political transom,” she told the Los Angeles Times in 2024, “I have to ask: Are you interested in fighting antisemitism, or was your main objective to beat up on your enemies?”
“Globalize the Intifada” is a term commonly used in left-wing, pro-Palestinian protests. Most of the perpetrators of the large-scale antisemitic attacks in the diaspora since the Oct. 7, 2023 Hamas attacks in Israel — including in Washington, D.C.; Boulder, Colorado; Bondi Beach, Australia; and the arson attack on Pennsylvania Gov. Josh Shapiro’s home — have made their pro-Palestinian and/or Islamist affiliations public.
But when the identity of the Jackson arsonist was revealed and the suspect appeared in court, his comments and social media presence betrayed no obvious link to the pro-Palestinian movement.
Instead the suspect, 19-year-old Catholic school graduate Stephen Spencer Pittman, used language —including “synagogue of Satan” and “Jesus Christ is Lord” — popular among leading figures of the online far right who peddle antisemitism, including Nick Fuentes and Candace Owens. (“Synagogue of Satan” also has deeper roots; it was popularized by Nation of Islam leader Louis Farrakhan.)
An Instagram account appearing to be Pittman’s also contains references to a “Christian diet” and a clip from “Drawn Together,” an adult animated series, referencing an antisemitic “Jew crow.” (One of the show’s creators is Jewish.) Neither Pittman’s public statements in court, nor his Instagram account, referred to pro-Palestinian activism.
In hindsight, was Lipstadt right to preemptively link the fire to “globalize the intifada”?
“It may have been inopportune of me to say that,” she told the Jewish Telegraphic Agency about her invocation of the phrase.
Lipstadt insisted, “I was not saying this was a leftist attack. Clearly it’s not.” Nor did she “mean to suggest that this was an Islamist attack.”
She offered that the phrase, which uses the Arabic word associated with the violent Palestinian uprisings of the late 1980s and early 2000s, could be interpreted as hatred toward Jews coming from all sides.
“If ‘globalize the intifada’ means ‘attack Jews everywhere,’ then it certainly fits,” she said. “So it depends on how you want to interpret the sentence.”
Lipstadt wasn’t the only prominent figure linking the arsonist to “globalize the intifada” and other pro-Palestinian phrases before his identity was revealed.
“It began with BDS. Some said, it’s just words,” Marc Edelman, a Jewish law professor at the City University of New York, wrote on X over the weekend.
He continued, “CUNY Law speech: ‘globalize the intifada.’ Still, just words? Recent pro-Hamas chants. Words again? And now the violence in Pittsburgh, Washington D.C., Sydney, Jackson, Mississippi and more. As the Left used to say, words matter!”
Even a pro-Palestinian politician condemned the arson while also addressing recent hard-line pro-Palestinian activism in her own city.
“Mississippi’s oldest and largest synagogue, and two of their Torah scrolls, were burned yesterday on Shabbat in a horrific antisemitic attack—days after protestors chanted ‘We support Hamas’, here in NYC,” Shahana Hanif, a New York City council member from Brooklyn who won re-election in a race that pivoted largely on Israel, wrote on X.
She was referencing recent pro-Hamas protesters outside synagogues in New York, who have been denounced by progressives who are critical of Israel including Mayor Zohran Mamdani and Rep. Alexandria Ocasio-Cortez.
Hanif added, “These chants are antisemitic and deeply harmful. You can oppose land sales in the West Bank without supporting violence against Jews. Yesterday’s arson in Mississippi is a stark reminder of the consequences of hate.”
She attracted some criticism from the pro-Palestinian movement for her statement — including from the group that organized the pro-Hamas New York synagogue protests, which took offense at the comparison.
“Linking chants at a Palestine protest that support a resistance movement of occupied people to the klan bombing of a synagogue is absolutely irresponsible and disgusting,” PAL-Awda NY/NJ, a radical group, wrote to Hanif.
In the group’s Telegram channel viewed by JTA, PAL-Awda added, “We see you, politicians who claim to support Palestine but then follow the hasbara playbook to link people resisting colonial oppression with white supremacists bombing synagogues in Mississippi.” “Hasbara” is a Hebrew term used to describe Israeli public relations efforts.
Pro-Israel groups, meanwhile, claimed hypocrisy, with some sharing a screenshot of Hanif previously retweeting a pro-Palestinian activist’s post that included the phrase “Globalize the Intifada.” JTA was unable to verify the post.
Unlike Lipstadt, Edelman, the CUNY law professor, told JTA he stands by his initial assessment of the arson.
“Nothing changes the fact that the actions taken in Washington, D.C. and Sydney, Australia, coalesced with an extreme left anti-Israel position,” he said, referring to the mass shootings at the Capital Jewish Museum and Bondi Beach — the former by a declared pro-Palestinian activist, the latter by declared Islamists. (Edelman noted that he recently undertook a Fulbright scholarship in Australia.)
Edelman added, “It is also not surprising that far-right rhetoric, much as it has for generations in this country, has also led to increased violence against minority groups including Jewish Americans.”
But there’s a key difference between the two sides, in Edelman’s eyes.
“The big distinction here, and I say this as a member of the Democratic Party, is that the left has historically been better than this,” he said. “And now, perhaps, they are not.”
For Lipstadt, the incident has largely taught her that Jews shouldn’t spend time trying to determine which kinds of antisemitic attacks, whether from the left or right, are worse.
“It’s all horrible,” she said. “Much of it is lethal. It’s toxic and it’s dangerous.”
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