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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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The post A Jewish museum exhibit features the Palestinian flag. Some visitors wonder if it belongs. appeared first on Jewish Telegraphic Agency.
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Imam-led walkout over Jewish participant at CUNY interfaith event draws wide condemnation
(JTA) — Jewish groups and government officials are condemning an incident at a recent interfaith event held on the campus of the City College of New York, at which a Muslim leader reportedly led a student walkout against the Hillel director after saying he refused to be “sitting next to a Zionist.”
The incident took place last week and was first reported Wednesday by the Times of Israel, which obtained a recording of the event hosted by the college’s Office of Student Inclusion Initiatives.
The imam let loose a series of remarks about Shariah law and “the filthy rich” before stating, “I came here to this event not knowing that I would be sitting next to a Zionist and this is something I’m not going to accept. My people are being killed right now in Gaza.”
He then added, “If you’re a Muslim, out of strength and dignity, I ask you to exit this room immediately.” Roughly 100 Muslim students followed him out the door, according to the report, and the chaplain hosting the event expressed disbelief.
“This is not dialogue — it is harassment,” the Anti-Defamation League’s New York chapter wrote on the social network X. The chapter’s director Scott Richman called the incident “a truly disgusting display of raw antisemitism not only by the imam but by the huge crowd of people there for an interfaith event who followed him out the door because a Jew was present.”
“We unequivocally condemn this gross display of antisemitism at City College of New York,” the Nexus Project, a progressive-leaning antisemitism watchdog group, wrote on social media.
New York Gov. Kathy Hochul blasted the walkout as “antisemitism, plain and simple,” adding, “No one should be singled out, targeted, or shamed because they are Jewish.” She urged the City University of New York, the public university system that includes the campus, “to act swiftly to ensure accountability and protect every student’s safety.”
Hochul’s Republican opponent in next year’s governor race, Rep. Elise Stefanik, called CUNY “a hotbed of antisemitism.”
The federal Department of Justice, which has used its authority to pressure universities to quash antisemitism, also has an eye on the situation. “This is deeply concerning,” tweeted Associate Attorney General Harmeet Dhillon. “@CivilRights has questions and will look into this!”
The Hillel at City College, in an email to members, wrote, “Our concern is with one individual’s extremist rhetoric—not with Islam, not with Muslim students, and not with interfaith engagement itself.” It added that it was confident that City College would “respond appropriately” to the incident.
CUNY said it was aware of the incident and was investigating.
Jewish Insider later identified the Muslim speaker, who had identified himself only as “Abdullah” on the recording, as Abdullah Mady, a recent psychology graduate of the school who stayed on to pursue a master’s degree in medical translation. In a biography published online by his department, accompanied by a photograph in which he is wearing a keffiyeh, Mady says he aims to become a doctor.
Ilya Bratman, who runs the Hillel that serves City College as well as several other local public and private schools, told the Times of Israel that he was in attendance but that there were not many other Jewish students present because the Hillel had been hosting a talk with a Holocaust survivor in another room in the same building.
One Jewish student who was in attendance told the moderator after the walkout, “You’re in shock? We’re not, we’re used to it.”
The post Imam-led walkout over Jewish participant at CUNY interfaith event draws wide condemnation appeared first on The Forward.
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Kaploun leans on personal story and Holocaust education in bid to become Trump’s antisemitism envoy
(JTA) — Rabbi Yehuda Kaploun, President Donald Trump’s nominee to serve as U.S. antisemitism envoy, pledged to elevate Holocaust education and combat what he called a “global problem” of ignorance-driven antisemitism during a Senate confirmation hearing on Wednesday, while sidestepping the more partisan controversies that prompted a rebuke from a group of House Democrats ahead of the session.
“Together with bipartisan support, we must educate the world to respect one another,” Kaploun told the Senate Foreign Relations Committee in an opening statement that drew heavily on his personal encounters with antisemitism — from childhood taunts in Brooklyn to the Crown Heights riots and the deaths of family members on 9/11 and Oct. 7.
“I pledge to all of you here, I will not waver and I will not rest … to fight antisemitism everywhere and to make this world a better arena for God to dwell,” he said.
Kaploun, a Hasidic rabbi, Miami-based businessman and Trump ally, cast antisemitism as “a symbol of a larger hatred” and warned that societies that tolerate it invite broader violence.
He emphasized repeatedly that the core of the job must be education — of Holocaust history, of Jewish life in America and of the “Judeo-Christian values our country was founded on.”
But committee Democrats pressed him on political issues, including the administration’s muted response to a friendly interview that right-wing commentator Tucker Carlson recently conducted with Nick Fuentes, a antisemitic influencer. Asked whether Trump’s comments about Carlson — praising him while declining to denounce Fuentes — were appropriate, Kaploun responded by stressing freedom of speech while asserting that the administration is clear in condemning antisemitism.
“You have a right to hate, but we have a right to explain and stand up and abhor everything that you say,” he said, adding that he believes in condemning antisemitic remarks “whenever they need to be condemned” while maintaining free expression rights.
The exchange came a day after 18 House Democrats urged the Senate to reject Kaploun’s nomination, citing his past comments about Democrats and his failure to publicly challenge Trump’s use of antisemitic tropes during the 2024 campaign. The letter also highlighted past litigation involving Kaploun in Miami, previously reported by the Jewish Telegraphic Agency.
Kaploun pointed to the International Holocaust Remembrance Alliance’s working definition of antisemitism when asked about distinguishing antisemitism from criticism of Israel. “Anyone has a right to criticize Israel,” but singling out the country while ignoring other global issues can cross the line, he said.
Outside groups were divided on Kaploun. In a letter to the committee, Orthodox Union Advocacy Center leaders Nathan Diament and Isaac Pretter did not explicitly endorse Kaploun but said he is “familiar with the issues facing Jews around the world” and has shown a willingness to work across the aisle, including by co-authoring a JTA op-ed earlier this year with the two previous antisemitism envoys. But another national Jewish group, the liberal Zionist New Jewish Network, came out in direct opposition and called on senators to reject the nomination. “The administration’s weaponization of antisemitism has been appalling. Confirmation of Rabbi Kaploun adds insult to injury,” wrote the group’s CEO, Hadar Susskind.
The committee has not yet scheduled a vote on the nomination.
The post Kaploun leans on personal story and Holocaust education in bid to become Trump’s antisemitism envoy appeared first on The Forward.
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Amid Push for Gaza Role, Palestinian Authority Continues Paying Terrorists, Teaching Antisemitic Hatred
Palestinian Authority President Mahmoud Abbas looks on as he visits the Istishari Cancer Center in Ramallah, in the West Bank, May 14, 2025. Photo: REUTERS/Mohammed Torokman
As Western powers push for the Palestinian Authority to take a leading role in post-war Gaza, the government body has not delivered on promises of reform, continuing payments to terrorists and using school textbooks that glorify violence, demonize Israelis, and promote antisemitic themes.
On Wednesday, Israeli Foreign Minister Gideon Saar denounced the Palestinian Authority (PA) for nearly doubling its payments under its so-called “pay-for-slay” program — from $144 million in 2024 to $214 million so far in 2025 — despite the PA’s repeated promises of reform.
“The Palestinian Authority hasn’t stopped its payments of salaries to terrorists and their families. In fact, it is nearly doubling them,” the top Israeli diplomat said in a post on X.
“I call on Europe and the world to hold the PA accountable for funding terrorism. Stop Pay-for-Slay NOW!” he continued.
The Palestinian Authority hasn’t stopped its payments of salaries to terrorists and their families. In fact, it is nearly doubling them.
In 2024, it paid 144M dollars (€124M). In 2025, it has already committed 214M dollars (€185M) toward Pay-for-Slay, and the year isn’t even… pic.twitter.com/Iwyuy3le6y
— Gideon Sa’ar | גדעון סער (@gidonsaar) November 19, 2025
Even though PA President Mahmoud Abbas announced plans to reform the system earlier this year, new media reports reveal that Palestinian leadership has continued to issue payments.
The European Union (EU) is now demanding clarification on whether the “pay-for-slay” program is still operating through bypass channels, according to Euronews.
Western countries have been pushing for the PA to undergo internal reforms, aiming for the group to take control of Gaza after the war under the US-backed peace plan, despite strong Israeli objections.
The PA, which has long been riddled with accusations of corruption, has also maintained for years the “pay-for-slay” program, which rewards terrorists and their families for carrying out attacks against Israelis.
Under the policy, the Palestinian Authority Martyr’s Fund makes official payments to Palestinian prisoners held in Israeli jails, the families of “martyrs” killed in attacks on Israelis, and injured Palestinian terrorists.
Reports estimate that approximately 8 percent of the PA’s budget is allocated to paying stipends to convicted terrorists and their families.
This week, Israeli officials visited Brussels to present evidence to the bloc that the old “pay-for-slay” program is still operating and may be using funds that EU member states had originally donated for other purposes.
“We understand that a recent payment has been made to the families of prisoners, based on a previous scheme. We profoundly regret this decision, as this seems to go against prior announcements,” the EU Commission told Euronews.
However, the European bloc rejected any suggestion that its funds were involved in the recent payments.
“EU support to the PA is linked to its efforts to pursue the reform agenda,” the EU Commission said.
For years, the EU has been the largest provider of external assistance to the group, allocating approximately $1.47 billion bilaterally between 2021 and 2024.
As the international community seeks to chart a path for Gaza’s reconstruction after the Israel-Hamas war, the PA is maneuvering to take a leading role in the war-torn enclave, despite Israeli objections and with the backing of Western powers — a move that experts say is unlikely to succeed given the PA’s lack of credibility and support for terrorism against Israel.
Along with pledging to reform the “pay-for-slay” program, Abbas has also repeatedly reaffirmed his commitment to long-promised administrative reforms, even saying he intends to hold presidential and general elections after the war under international supervision.
The PA leader was elected to a four-year term in 2005, and he has not held elections since then.
Beyond payments to terrorists, the PA has also repeatedly promised Western powers to reform its school textbooks, which for years have notoriously promoted antisemitism and hatred for Israel.
Despite the PA’s promises, its textbooks continue to glorify violence, demonize Israelis, propagate antisemitic themes, and promote an exclusivist nationalist narrative.
On Wednesday, the Institute for Monitoring Peace and Cultural Tolerance in School Education (IMPACT-se), a nonprofit organization that analyzes schoolbooks and curricula around the world, released a new study analyzing 290 textbooks and 71 teachers’ guides used across multiple grades, finding that not a single reform has been made to address previous problematic content that promotes violence and incites hatred.
IMPACT-se’s report on the 2025–26 Palestinian Authority curriculum reveals a disturbing reality: Palestinian children are still being indoctrinated with the glorification of violence, antisemitism, promotion of martyrdom and the rejection of peace—embedded even in math and…
— IMPACT-SE (@IMPACT_SE) November 19, 2025
For years, PA-issued textbooks have been criticized for promoting extremism and undermining efforts to encourage peaceful coexistence with Israelis.
According to the newly released report, the textbooks’ content remains unchanged despite the PA’s explicit promises to reform the curriculum and public assurances from European officials that such reforms were underway.
IMPACT-se CEO Marcus Sheff said the findings “expose a stark and disturbing reality.”
“Virulent antisemitism, the glorification of jihad, and incitement to violence remain deeply embedded across all grades of Palestinian Authority textbooks,” Sheff said in a statement.
For example, Jews and Israelis continue to be portrayed as inherently evil, manipulative, corrupt, or as enemies of Islam, perpetuating deeply rooted antisemitic stereotypes, while the demonization of Israel remains a persistent and striking theme throughout the textbooks.
An 11th-grade history textbook features a cartoon with antisemitic imagery portraying Jews as controlling the world, including a black-and-white image labeled “cultural colonialism” showing two arms gripping a globe — one holding an American flag, the other an Israeli flag.
In a 10th-grade history textbook, it is claimed that after World War II, “the Zionists hoped the US would support the establishment of their national homeland in Palestine — by exploiting their political, media and financial influence in the United States.”
Another example comes from a 9th-grade civics textbook, which claims that Israel “deliberately releases herds of pigs” to damage Palestinian crops and undermine the Palestinian economy.
The newly released study also warns that the textbooks promote and justify violence against Jews and Israelis, fostering a culture of aggression and hostility.
In an 11th-grade history textbook, the 1972 Munich Olympics massacre — where 11 Israeli athletes and delegation members were killed — is depicted as a legitimate form of Palestinian resistance.
“The Palestinian resistance resorted to many methods in its struggle against the Zionist occupation. The fedayeen primarily used guerrilla warfare inside Palestinian territories, and also struck Zionist interests abroad — such as the Munich operation in 1972,” the book says.
According to the IMPACT-SE report, references to Jewish history and Israeli-Arab diplomatic efforts have been completely removed from the 2025–2026 textbooks, with any content promoting non-violence or compromise absent and the Holocaust entirely ignored.
The PA had committed to curriculum reforms earlier this year in order to secure over $462 million in economic support from the European Union, contingent on meeting specific education-related benchmarks.