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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, Antisemitic Views of US Republicans Concentrated Among ‘New Entrants’ to Party, New Poll Finds
People gather for the UTEP chapter of Turning Point USA’s event featuring Border Czar Tom Homan on Dec. 4, 2025, at the UGLC on the UTEP campus in El Paso, Texas. Photo: USA TODAY Network via Reuters Connect
A strong majority of Republicans in the US support Israel and reject antisemitism, but “new,” more liberal entrants to the party are more likely to hold an animus toward the Jewish state and tolerate antisemitic hatred, according to a major new survey.
The Manhattan Institute, a prominent US-based think tank, has released a new poll examining the evolving makeup of the Republican Party (GOP) and its current attitudes toward Israel and Jewish Americans.
The results show a GOP that still contains a strong, reliable core of pro-Israel voters, yet one that is increasingly fractured, with a growing minority expressing skepticism toward Israel or even openly hostile antisemitic views.
According to the poll, the majority of Republicans, defined as registered GOP voters or those who, regardless of party affiliation, voted for Donald Trump in 2024, remain consistently conservative on foreign policy and firmly supportive of Israel. The Manhattan Institute divided this group into two groups: “Core Republicans,” defined as “longstanding GOP voters who have consistently backed Republican presidential nominees since 2016 or earlier,” and “New Entrant Republicans,” defined as “recent first-time GOP presidential voters, including those who supported Democrats in 2016 or 2020 or were too young to vote in cycles before 2020.” The two blocs comprise about two-thirds and one-third of the GOP coalition, respectively.
Among the nearly 3,000 total respondents, 55 percent said that Israel is an “important and effective” US ally, while 23 percent said that Israel is “a country like any other” whose interests sometimes align with the US. An additional 12 percent agreed with a description of Israel as a “settler-colonial state” and a liability, indicating a heavy disdain for the Jewish state.
“New Entrant Republicans” perceive Israel in a far harsher light than the general GOP base, according to the data. Among this cohort, 24 percent see Israel as a “liability” while just 39 percent still consider Israel an important ally of the US.
Notably, old guard and newer members of the Republican Party have split perspectives on Qatar, with 41 percent of new entrants viewing the Middle Eastern country favorably compared to 23 percent of “core” Republicans.
The survey also delivers a stark warning about a troubling minority within the GOP and across the broader electorate that holds openly antisemitic views. According to the results, 17 percent of current Republicans can be categorized as “anti-Jewish,” defined as those who “self-identify as both racist and antisemitic and express Holocaust denial or describe Israel as a colonial state” or “do not self-identify that way but nevertheless hold both of those extreme positions.”
The Manhattan Institute found that newer entrants are more likely to be anti-Jewish.
“Anti-Jewish Republicans are typically younger, disproportionately male, more likely to be college-educated, and significantly more likely to be New Entrant Republicans,” the survey states. “They are also more racially diverse. Consistent church attendance is one of the strongest predictors of rejecting these attitudes; infrequent church attendance is, all else equal, one of the strongest predictors of falling into this segment.”
This group is also in general more politically liberal, according to the survey: “Given that many of these voters are younger and former Democrats, more progressive policy tendencies are unsurprising.”
Notably, the Manhattan Institute found slightly higher levels of anti-Jewish sentiment (20 percent) among Democrats.
Among newer Republicans, 38 percent believe that Jews are more loyal to a foreign country than the US, compared to 24 percent of more traditional Republicans.
The “new entrant bloc is more likely to express tolerance for racist or antisemitic speech, more likely to support political violence, more conspiratorial, and — on core policy questions — considerably more liberal than the party’s traditional base,” the Manhattan Institute writes. “These voters are drawn to Trump but are not reliably attached to the Republican Party.”
A key factor in the data is age, with the survey showing a major generational divide in which older GOP voters are much more supportive of Israel and less likely to express antisemitic views than their younger cohorts.
According to the data, 25 percent of GOP voters under 50 openly express antisemitic views as opposed to just 4 percent over the age of 50.
Startlingly, a substantial amount, 37 percent, of GOP voters indicate belief in Holocaust denialism. These figures are more pronounced among young men under 50, with a majority, 54 percent, agreeing that the Holocaust “was greatly exaggerated or did not happen as historians describe.” Among men over 50, 41 percent agree with the sentiment. There are also substantial divisions among racial lines. Whopping amounts of black and Latino GOP voters, 66 percent and 77 percent, respectively, believe in Holocaust denialism. Thirty percent of white GOP voters deny or minimize the Holocaust, according to the Manhattan Institute.
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Neo-Nazis Deploy AI Apps as New Creative Weapons Against Jews, Watchdog Groups Reveal
Screenshots taken on Oct. 23, 2025, of three Sora videos created by user “Pablo Deskobar.”
Large language model (LLM) programs marketed as “artificial intelligence” have become common tools in the kits of online extremists advocating a genocide of the Jewish people, according to new research from longtime watchdogs of antisemitic hate groups and terrorist movements.
On Tuesday, the Anti-Defamation League (ADL) released its report, “The Safety Divide: Open-Source AI Models Fall Short on Guardrails for Antisemitic, Dangerous Content,” which presented the results of testing 17 LLM models — including Google’s Gemma-3, Microsoft’s Phi-4, and Meta’s Llama 3 — which are available for anyone to download and customize to their preferences.
“The ability to easily manipulate open-source AI models to generate antisemitic content exposes a critical vulnerability in the AI ecosystem,” said Jonathan Greenblatt, CEO of the ADL. “The lack of robust safety guardrails makes AI models susceptible to exploitation by bad actors, and we need industry leaders and policymakers to work together to ensure these tools cannot be misused to spread antisemitism and hate.”
In addition to the “open source” models, the group’s researchers analyzed OpenAI’s “closed source” GPT-4o and GPT-5 as a comparison and reported a surprising finding.
“As suggested by previous research and data, OpenAI’s closed-source GPT-4o beat every open-source model (save gpt-oss-20b) in nearly every benchmark, compared to the next highest, the open-source Phi-4 with a score of .84,” the ADL researchers wrote. “GPT-5, in contrast, despite being a newer model than GPT-4o, had a lower guardrail score (.75 compared to .94), fewer refusals (69% compared to 82%), more harmful content (26% compared to 0%) and a higher evasion rate (6% compared to 1%).”
The analysts considered varying explanations for their findings including the possibility “that GPT-5 is designed for ‘safe completions’ (partial or high-level answers), leading to significantly fewer refusals than GPT-4o (e.g., 0% vs. 40% in one prompt). This also resulted in a change of tone. In Prompt 3, for example, GPT-4o started with a preamble about the sensitive nature of the topic, while GPT-5 usually omitted the warning, choosing instead to address and illustrate problematic tropes within the answer itself.”
The complexity of analyzing the LLM models and ambiguity of the results led the ADL to adopt a cautious tone and assess that “we cannot claim a strict linear boost in overall capability.”
“The decentralized nature of open-source AI presents both opportunities and risks,” said Daniel Kelley, director of the ADL’s Center for Technology and Society. “While these models increasingly drive innovation and provide cost-effective solutions, we must ensure they cannot be weaponized to spread antisemitism, hate, and misinformation that puts Jewish communities and others at risk.”
In its list of recommendations in response to the research findings, the ADL urged governments to “establish strict controls on open-source deployment in government settings, mandate safety audits and require collaboration with civil society experts, [and] require clear disclaimers for AI-generated content on sensitive topics.”
The ADL report came out a few days after the Middle East Media Research Institute (MEMRI) published a new analysis of how online neo-Nazi advocates have started to use AI models. The group described the discovery of custom AIs with names like “Fuhrer AI” and “Deep AI Adolf Hitler Chat” programmed to speak in the style of the Nazi leader and to promote his genocidal ideology.
“We are also witnessing the rise of a new digital infrastructure for hate. And it’s not just fringe actors,” Steven Stalinsky, executive director of MEMRI, and Simon Purdue, director of MEMRI’s Violent Extremism Threat Monitor project, wrote in their analysis. “State-aligned networks from Russia, China, Iran, and North Korea amplify this content using bots and fake accounts, sewing division, disinformation, and fear — all powered by AI. This is psychological warfare. And we are unprepared.”
Stalinsky and Purdue warned that “the threat isn’t hypothetical. We’ve been studying how extremists began experimenting with generative AI as early as 2022. Since then, the volume, coordination, and sophistication have grown dramatically.”
Analyzing the many dimensions of the threat posed by AI has recently drawn significant research attention from both the ADL and MEMRI, with the two groups findings’ complementing one another.
Last month, The Algemeiner reported on MEMRI’s in-depth analysis, “Artificial Intelligence and the New Era of Terrorism: An Assessment of How Jihadis Are Using AI to Expand Their Propaganda, Recruitment, and Operations and the Implications for National Security.” In October, the ADL released its report, “”Innovative AI Video Generators Produce Antisemitic, Hateful, and Violent Outputs.”
Meanwhile, Israel has begun moving quickly to integrate AI into its war plans.
Last week, the Israel Defense Forces announced its “Bina” initiative, named after the Hebrew word for “intelligence.” This restructuring and consolidating of Israeli military efforts in artificial intelligence-fueled warfare specifically aims to counter aggression from Iran, China, and Russia.
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Can Jewish tradition help you stay sane when all your bosses are ‘idiots’?
Dear Bintel,
My work colleagues and I need your help. Does Jewish tradition have anything to say about how not to lose your mind when all your bosses are idiots?
Signed,
Losing It
Dear Losing It,
Proverbs 29:2 sums up the impact of bad leadership on morale better than I can: “When a wicked man rules, the people groan.” Believe me, I can hear you and your colleagues groaning in response to every ridiculous email and edict from your inept employers.
The Bible is also full of stories about individuals saddled with work they neither want nor enjoy. Jeremiah is a reluctant prophet ordered to deliver messages nobody wants to hear. Jonah also pointed out the futility of his assignment, saying, essentially, “Why should I tell everyone they’re evil when they won’t listen?” Meanwhile, Moses tries to talk God out of giving him the task of leading the Jews out of Egypt.
And what does the Talmud have to say about all this? The sages portray pushback not as insubordination, but as part of the fundamental relationship between Jews and God: We have a responsibility to demand justice and challenge authority.
But how do you do it without getting fired? Speaking truth to power is an art. Nathan the prophet did it with panache: He got King David to see the error of his ways by relating a parable. When David noticed that the man in Nathan’s tale had transgressed, Nathan said to David, “You are the man!”
Now, I’m not saying your work life will improve if you tell your terrible bosses a story in which the villains are thinly veiled versions of themselves. Nor am I suggesting that you must endure 20 years of servitude, like Jacob did, in order to get some sheep and the woman of your dreams, or that you should argue about every single thing you’re asked to do, as did Moses.
But here’s an oft-quoted Talmudic saying that expresses one of Judaism’s guiding principles, and I think it’s relevant to your work-life quandary: “It is not up to you to complete the task, but neither are you free to avoid it.”
In other words, you aren’t responsible for fixing everything that’s wrong with your job. But you are required to make an effort.
What might that look like? How about cheerfully encouraging adherence to best practices by offering evidence-based recommendations? Or matter-of-factly questioning a pointless policy — without pointing fingers — by simply showing that it’s hurting the bottom line or creating delays?
Now I wouldn’t want you to get on the bosses’ bad side or put yourself in the firing line in the course of offering criticism veiled as new ideas. To help your cause, enlist trusted colleagues to backread that email before you send it, or ask others to jointly request a meeting to propose a new approach to something you’re aching to improve.
What if your suggestions and complaints go unheeded? The Talmud tells of a rabbi who predicts that those on the receiving end of his protests “will not accept the rebuke from me.”
Do it anyway, is the response: “Even though they will not accept it, the Master should rebuke them.”
Consider, too, this beautiful precept from the great philosopher Maimonides: “Each of us should see ourselves as if our next act could change the fate of the world.” Meaning that every small choice you make as you carry out your duties — rendering a compliment to an overwhelmed work friend, making a correction without judgment, sharing a shortcut with the team or listening to a colleague’s frustration — matters.
I truly believe that part of how we maintain our sanity in the face of incompetence or evil is by standing up for our own values, even when it seems pointless. If you subscribe to the notion that every righteous act we perform, no matter how small, contributes to repairing our broken world, and if you can truly believe in the power of individual good deeds, it will go a long way toward restoring your peace of mind.
Peace of mind can also come from the time-honored Jewish tradition of kibbitzing. If you don’t already have an online group on WhatsApp or Discord where you and your coworkers can kvetch as well as support each other away from the bosses’ gaze, start one. If your work is in-person, in the office, rather than remote, invite a couple of colleagues out for a beer or coffee or a meetup in the park.
I’d be remiss if I didn’t also serve up this oft-quoted Talmudic nugget: “A person should love work and not hate it.” The ancient rabbis believed work not only supports one’s material needs, but also provides dignity and self-worth — or so it should. If it’s impossible for you to love your work given your current situation; if you can’t bear the thought of sticking it out the way Jacob did; and if you don’t feel motivated enough to push back one small act at a time, as Maimonides advised, well then, you could always go all out and confront those idiotic bosses head on.
Of course, if you do that, they might hand you your walking papers. Then again, maybe being forced to look for a new job isn’t the worst thing that could happen given your disdain for your situation. Maybe you’re thinking of quitting anyway — and maybe that’s not a bad idea. As a more contemporary Jewish sage, Bob Dylan, once said, “All you can do is do what you must.”
Signed,
Bintel
What do you think? Send your comments to bintel@forward.com or send in a question of your own.
This is Beth Harpaz’s final column for Bintel Brief. She managed and wrote for the column from 2022 to 2025.
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